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CATALOGUE
OF THE
INDIAN COLLECTIONS
IN THE
MUSEUM OF FINE ARTS, BOSTON
Y
ANANDA K. COOMARASWAMY, D.Sr. (LoM>.)
KEEPER OF INDIAN AND MI T 1I \MM ADA\ ART
IN THE Ml'SEl'M
MUSEUM OF FINE ARTS, BOSTON
1924
COPYRIGHT, \M4, BY MI'SKl'M OF FINE ARTS. BOSTON
ALL RIGHTS RESERVED
PRINTED AT THE HARVARD r.MVKHHITY PRK8S
CAMBRIDGE, MA8S., U.8.A.
CONTENTS
PART IV
INTROnt'CTION
JAINISM X
IJFE OF MAHAVIRA ANI> OTHER JINAS r>
SUMMARY OF THE STORY OF KALAKACARY A 17
SUMMARY OF THE STOUV OF SALT HHADHA 211
JAINA COSMOLOGY 2(i
Further Explanation of Various Terms 2S
JATNA LITERATURE !i()
JAINA PAINTING ,T2
BIBLIOGRAPHY OF JAINISM 'J8
LIST OF IMANl'SriUPTS AND PAINTlNCiS
MANUSCRIPTS -10
JJNAS 70
MISCELLANEOUS DRAWINGS 72
APPENDIX
LIST OF DONORS 7. r >
INDEX OF REGISTRY NUMBERS 77
PLATES
CATALOGUE OF THE INDIAN COLLECTIONS
IN THE
MUSEUM OF FINE ARTS, BOSTON
PART IV
JAINA PAINTINGS AND MANUSCRIPTS
INTRODUCTION
JAINISM l
From correspondences in Jain and Buddhist tradition it is practically
certain that Mahavlra, otherwise called Vardhamana (JfiStiputra) is iden-
tical with the Nigantha Nataputta who is referred to in Buddhist texts as
the leader of a rival sect in the time of the Buddha himself. Thus the
founder of Jainism, like the Buddha, taught in the sixth century B.C.
What he taught, and the manner of his teaching, also closely paralleled
the doctrine and ministry of Buddha. Jainism is essentially an ethical phi-
losophy intended for ascetics, the Nigan^has, " Freed of all Bonds," who
leave the world to dedicate their whole lives to the search for truth, and its
proclamation. They practised a more severely ascetic rule than that of the
Buddhists. As in Buddhism, however, there was also recognized a laity,
who without renouncing the world, still adhered to the Jain doctrines, and
supported the Jain mendicants. The members of the lay community, if
they could not reach the highest goal, could still walk on the path towards it.
The Jaina teaching, like the Buddhist, takes for granted the Brahman
doctrines of Karma (Deeds, causality) and Sams&ra (The Ocean of Life
and Death). Its highest goal is Nirvana or Moksa, the setting free of
the individual from the Samsara. The means to this end are the three
Jewels of Right Knowledge, Right Faith, and Right Walk. Just what the
Buddha is to the Buddhists originally a man like other men, who never-
theless by his own power has attained omniscience and freedom, and,
out of pity for suffering mankind teaches to them the way of salvation
which he has found that is the Jina to the Jains. The Jina, the Con-
queror, is variously known as Kevalin (Omniscient), Buddha (Enlightened),
Mukta (Delivered), Siddha (Perfected), Arhat (Adept), and Tlrthakara,
"the Finder of the Ford" by which to cross the Ocean of Rebirth. The
last title alone is peculiar to the Jains, all the others belonging to the com-
1 See especially, Nahar, P. C. and Ghosh, K., Epitome of Jainism, Calcutta, 1917.
[S]
INDIAN COLLECTIONS
mon usage of Brahmans and Buddhists as well as Jains. Though retain-
ing one and the same body of doctrine, the Jain community as a whole
was early divided into two parts, the Digambaras, "Clothed with the
sky," whose ascetics wear no clothing whatever, and the Svetambaras, who
are "Clothed in white/' and who alone possess an order of nuns.
The cardinal doctrines of Jainism may be enunciated as follows: Human
personality is dual, spiritual and physical; man has free will, and is himself
alone responsible for all that is good or bad in his life; the human soul may
control and be freed from its physical entanglement, becoming an Arhat in
the world, and a Siddha in Nirvana, enjoying then its true form of being and
possessed of the four infinite powers; and those Siddhas " who have revealed
the broad fording-place of virtue" are called Tlrthakaras (Finders of the
Ford). But just as in Buddhism, the Jina, who is at first a mere man, is
subsequently deified and becomes the object of a devotional cult. 1
It will be seen that this system differs from that of Upani$ads in its
dualism, and from Buddhism in its acceptance of the idea of the soul.
It resembles the Samkhya in its dualism, and Buddhism, both in its
establishment of a monastic order, and in its attitude towards the lesser
gods, with a rejection of the idea of a Supreme Creator. Like all other
Indian religions, it has for its end the spiritual freedom and perfection of
every individual.
While the Buddhist community no longer exists in India, except in
Nepal and Ceylon, but is represented throughout Eastern Asia, the Jains
have survived in India to the present day, but have not established ad-
herents abroad. The Jains are to be met with in nearly every large Indian
town, chiefly amongst the merchants. They have been politically, and are
still economically powerful. To them the architectural splendor of many
of the cities of Western India is largely due, as likewise, that of the great
temple cities of Satruiijaya and Girnar, and the beautiful temples at Mount
Abu. They now occupy an important position chiefly in Gujarat, Rajput-
ana and the Paftjab, and also in Kanara.
1 It was, I think, first pointed out by Jacob! (Gaina Sutras, 8. B. E., Vol. XXII, p. xxi) that the
impulse to image worship equally amongst Buddhists and Jainas must have originated in the lay
community and results from the experience and doctrine of Bhakti, or devotion.
[4]
JAINA PAINTINGS
LIFE OF MAHAVIRA AND OTHER JINAS l
At the close of his allotted period of existence in heaven, where he had
dwelt for twenty ages subsequent to his last incarnation, MahSvIra, the
last of the Tirthakaras, took conception in the womb of Devananda, the
wife of the Brahmana Rabhadatta, in the town of Kuntfagrama (probably
a suburb of VaiSall, capital of Videha or Mithilfi, the modern Tirhut).
That night the Brahman! Devananda lay in fitful slumber, between
sleeping and waking, and she dreamed fourteen auspicious and blessed
dreams, to wit: of an elephant, a bull, a lion, the lustration (of Lakgml),
a garland, the moon, the sun, a flag, a vase, a lotus pool, an ocean, a celes-
tial mansion, a heap of jewels, and a flame. She awoke from these dreams
happy and contented; and having firmly fixed the dreams in her mind, she
arose from her couch. Neither hasty nor trembling, but with the even gait
of a royal swan, she sought the Brahmana Rgabhadatta and greeted him.
Then she sat down in a rich state chair; cdlm and composed, with folded
hands, she related to him the dreams. He saw that they foretold a son,
beautiful and perfect and clever, who would become acquainted with all
branches of scripture, grammar, and science. She accepted the interpre-
tation, and he and she rejoiced together.
Meanwhile Sakra (Indra), wielder of the thunderbolt, rider of Airavata,
wearing robes as spotless as the pure sky, and trembling earrings of bright
gold, sat on his throne in the council hall Sudharman in heaven. He who
is ruler of heaven and all the gods of heaven and earth was then enjoying
the divine pleasures, such as music and playing and story-telling. He
likewise surveyed the whole land of Jambudvipa (India) with his all-
embracing gaze, and he saw that Mahavlra was conceived in the womb of
Devananda. Trembling with delight, he arose from his throne, and de-
scending from the jewelled footstool, he cast his seamless robe over his
left shoulder and advanced in the direction of the Holy One. Then he
knelt and touched the ground with his head thrice, and joining the palms
of his hands, raised them above his head and said: 'Reverence to the
Saints and Blessed Ones, the Masters, the Path-makers [Arhats, Bhaga-
1 Condensed from the Kalpa Sutra and Ac&ranga Sutra, translated by Jacobi, Sacred Books of
the East, Vol. XXII.
[5]
INDIAN COLLECTIONS
vats, Adikaras, and Tlrthakaras], the Perfectly Enlightened Ones; to the
highest of men, the lions among men, the lotus-flowers of humanity; to
the highest in the world, the guides of the world, the lights of the world;
the givers of safety, of life, and of knowledge; the givers and preachers of
law; the possessors of boundless wisdom and intuition; the conquerors and
the saviours; those who have reached a stainless and undying bliss whence
there is no return, those who have conquered fear. Reverence to the
venerable ascetic Mahavira, last of the* Tlrthakaras, whom the former
Tlrthakaras foretold. I here adore the revered one whom I see; may he
from there see me.' So saying, Sakra bowed again and returned to his
throne.
It immediately occurred to him that it never had happened nor ever
could happen that any Arhat, Cakravartin, or Vasudeva had taken birth
in a low or degraded or in any Brahmana family, but only in noble families
of pure descent. 'This is the first time that an Arhat has taken concep-
tion in an unworthy family; l however, it has not yet happened that one
has ever been born in such a family. I shall therefore cause the venerable
ascetic Mahavlra to be removed from the Brahmanical quarter Kun^a-
grfima, arid from the womb of the Brahman! Devananda, and to be placed
as an embryo in the womb of the Kgatriyani Trisala, wife of the Kgatriya
Siddhartha; and the embryo of the K^atriyanl Trisala to be placed in the
womb of the Brahman! Devananda.' Thus reflecting, he called Harine-
gamegi, 2 the commander of his infantry; and he instructed him as afore-
said, to exchange the embryos, and to return and report the execution of
the command.
Harinegamei bowed and departed, saying: "Just as your Majesty
orders." He descended from heaven toward the northeastern quarter of
the world, and assumed a material form; and so he passed with the high
swift movement of a god, over continents and oceans, till he reached the
town of Kun^agrama and the house of the Brahmana Rgabhadatta. There
he bowed eight times to MahSvIra, and cast the Brahman! Devananda into
1 That is to say, so regarded by the Jains, whose philosophy and membership, like that of the
Buddhists, was primarily of Ksatriya origin.
* For the relation of this peculiar deity with the Br&hmanical Nejamesa and Naigamesa see
Winterniti, M., in J. R. A. S., 1895, pp. 149 ff.
[6]
JAINA PAINTINGS
a deep sleep, and all her retinue; removing all that was unclean, he brought
forth what was clean, and placed the embryo of the venerable ascetic
Mahavira in the womb of the KgatriyanI Trisala, and the embryo of the
Kgatriyanl in the womb of the Brahmanl Devananda. And having so done,
he returned whence he came. With the high swift movement of a god he
passed over oceans and continents and reached the heavens and the throne
of Sakra, and reported the fulfillment of the command. This befell on the
eighty-third day after conception, in the middle of the night.
On that night the Kgatriyan! lay on her couch, twixt sleeping and wak-
ing, in her bower, whereof the walls were decorated with pictures, and the
ceiling painted; the chamber was fragrant with the scent of flowers and
perfumes, and the couch was covered with a mattress of a man's length,
with pillows at head and foot, raised on both sides and hollow in the middle,
covered with a cloth of figured linen, hung with red mosquito nets, and
furnished with all the comforts of a bed, such as flowers and sandal powder.
Then there came to her the fourteen auspicious and delightful dreams that
the Brahman! Devananda had formerly dreamed, to wit: a great lucky
elephant, marked with auspicious signs, and four-tusked; a lucky bull,
whiter than the petals of the white lotus, sleek and well-proportioned,
foreboding innumerable happy qualities; a playful beautiful lion, whiter
than a heap of pearls his tail waved, and his beautiful tongue came out
of his mouth like a shoot of beauty; Sri, the goddess of beauty, seated on a
lotus, laved by attendant elephants; a garland of mandara flowers hanging
down from the firmament, incomparably fragrant, and haunted by swarms
of bees; the moon, white as the milk of cows, or as a silver cup; the great
red sun, whose thousand rays obscure the lustre of all other lights; a green
flag, fastened to a golden staff, with a tuft of soft and waving peacock
feathers; a full vase of gold, filled with water-lilies; a lake of lotuses, re-
sorted to by swans and cranes and ducks, pleasing to heart and eye; the
ocean of milk, beauteous as Lakmf s breast a splendid and a pleasant
spectacle as its waters tossed in moving, ever-changing, excessively high
waves, traversed by porpoises and whales; a heavenly mansion of a thou-
sand and eight columns, decked with gold and gems, hung with pearl
garlands and decorated with various pictures, filled with music like the
sound of heavy rain, perfumed delightfully and full of light; a heap of
INDIAN COLLECTIONS
splendid jewels, high as Meru, illumining the very firmament; and a smoke-
less, crackling fire, flaming high as if to scorch the very heavens.
From these auspicious, happy dreams the Kgatriyani TriSala awoke,
and all the hair on her body rose up in joy. She rose from her couch, and
neither hasty nor trembling, but with the gait of a royal swan, she sought
the couch of the Rjatriya Siddhartha, and spoke to him with pleasant,
gentle words, and with his leave she sat on a chair of state, inlaid with
precious stones in various patterns. She related the fourteen dreams, and
asked her lord what they might portend. He foretold that she would give
birth to a son, who would establish the fame of their family: a beautiful
boy who should be acquainted with all branches of scripture, grammar,
and science, and become a lord of the earth. Then the Kgatriya and
Kgatriyam rejoiced together; and Trisala returned to her own couch, and
waked till morning, lest these good dreams should be counteracted by any
bad dreams following.
At daybreak, Siddhartha called for his servants, and ordered them to
prepare the hall of audience. He himself went to the royal gymnasium and
practised exercises, such as jumping, wrestling, fencing, and fighting, till
he was wearied. Then he was well shampooed; and when he was refreshed,
he entered the bath-room. That was an agreeable chamber; it had many
a window, and the floor was covered with mosaic of precious stones. He
seated himself on the bathing stool, inlaid with gems, and bathed himself
with pure scented water. Then he dried himself with a soft towel, and
donned a new and costly robe, with jewels, rings, and strings of pearls.
He seemed like a tree granting all desires. A royal umbrella was held
above him, as he proceeded from his bath and took his seat in the hall of
audience, surrounded by chiefs and vassals, ministers, merchants and
masters of guilds, knights and frontier-guards a very bull and lion
amongst men. On the one side of the throne he had set eight chairs of
state; and on the other a curtain, figured with various pictures, was drawn
toward the inner rooms of the palace; and behind this curtain was placed a
jewelled chair of state for the Rgatriyanl Trisala.
Then Siddhartha sent for the interpreters of dreams; and they, bathing
and donning clean court robes, came from their houses and entered Siddhar-
tha's palace, and saluting him with folded hands they took their seats on
[8]
JAINA PAINTINGS
the chairs of state. Meanwhile Tri&ala took her seat behind the curtain.
Siddhartha recounted the dreams to the interpreters, and they, after con-
sideration and discussion, replied to him: "0 beloved of the gods, there
are thirty Great Dreams enumerated in our books, and of these, those who
dream fourteen dreams are the mothers either of Universal Emperors or of
Arhats; and hence the K^atriyanl, having seen fourteen, will be the mother
either of a Cakravartin or of a Jina."
The king Siddhartha gladly accepted this interpretation and dismissed
the interpreters with gifts; and the lady Trisala returned to her own apart-
ments, neither hasty nor trembling, but with the even gait of a royal swan,
glad and happy.
Now from the moment when the venerable ascetic Mahavlra was
brought into Siddhartha's family, their wealth and their liberality and
popularity increased daily; and on this account it was decided to name the
child Vardhamana, the Increaser.
While still in the womb, the venerable? ascetic Mahavlra made the
resolution not to pluck out his hair and leave the world during the lifetime
of his parents.
During the remaining time of her pregnancy, the Kgatriyani Trisala
guarded herself from all sickness, fear, and fatigue, by suitable food and
clothing and pleasant diversions and occupation, frequently resting on
soft couches, and thus bearing the child in comfort. And after the lapse
of nine months and seven and a half days, in the middle of the night, when
the moon was in conjunction with the asterism Uttaraphalguni, Trisala,
perfectly healthy herself, gave birth to a perfectly healthy boy.
That night was an occasion of great rejoicing; the universe was re-
splendent with one light, as the gods and goddesses descended and ascended,
and great was the noise and confusion of the assembly of gods. These
gods the Bhavanapati, Vyantara, Jyoti&ka and Vaimanika appeared
to celebrate the feast of anointment (abhisekha) of the Tlrthakara's birth-
day. Siddhartha proclaimed a ten days' festival in his city, with remis-
sion of taxes, almsgiving, and so forth. On the twelfth day there took
place a royal banquet, and it was announced that the boy's name would
be Vardhamana.
Besides this he is called Sramana, or Ascetic, because he is without love
INDIAN COLLECTIONS
and without hate; and because he stands fast in the midst of dangers and
fears, and patiently bears hardships and calamities, and is indifferent to
pleasure and pain; obedient to a chosen discipline, he is called Mahavira,
the Great Hero, by the gods.
Mahavira dwelt in Videha thirty years, before his parents departed to
the world of the gods; and then only, with the permission of his elder
brother and the great men of the kingdom, he fulfilled his vow. The
Laukantika gods appeared to him, saying: "Victory to thee, bull of the
best Kgatriyas! Awake, reverend Lord of the World! Establish the reli-
gion of the law which benefits all living beings in the whole universe!"
Mahavira had already perceived that the time for his Renunciation
(nifkramana) had come. He made a suitable distribution of all his wealth.
This distribution of gifts occupied a whole year, at the end of which time,
the four orders of gods, descending from heaven, proceeded to the abode
of Mahavira. As they arrived in the Rgatriya quarter of Videha, Sakra
(Indra) descended from his chariot, and went apart; and he created by
magic a divine pedestal (deva-chamda) with a throne and footstool. Then
proceeding to the venerable ascetic Mahavira, Sakra circumambulated
him thrice from left to right, and placing him upon the throne, bathed him
with pure water and precious oils, and robed him in the lightest of figured
muslins, and garlands of pearls and precious gems. Then the god again
created by magic a splendid palanquin called candraprabha (moon-radi-
ance), adorned with pictures and bells and flags, and provided with a
throne; it was conspicuous, magnificent, and beautiful.
After completing a three days' fast, the ascetic Mahavira ascended the
throne and took his seat in the palanquin; in front it was borne by men,
and by the gods behind the Suras and Asuras, Garutfas and Nagas.
Its movement was accompanied by the sound of musical instruments in
the sky and upon the earth: and thus it proceeded from the Kgatriya
quarter of Kunglapura along the highway toward the park called Jfiatri
antfa. Just at nightfall the palanquin came to rest upon a little hillock
beside an Asoka tree; Mahavira descended, and took his seat beneath the
tree, with his face toward the East. He removed his ornaments and fine
clothes; and tearing out his hair in five handfuls, he obtained dlksa, enter-
ing upon the homeless life of a friar, adopting the holy rule, and vowing
Cio]
JAINA PAINTINGS
to commit no sin. At the same time he donned a divine garment, which
he accepted from Sakra (Vai&ramana, according to the Ac&r&tya Sutra)
who received the rejected ornaments and fine clothes and removed them
to the Ocean of Milk. 1 At the moment of Mahavlra's obtaining dik$a, the
whole universe of men and gods became suddenly perfectly silent and
motionless, like the figures in a picture.
Mahavira obtained the degree of knowledge called Manaljparyana;
and he resolved to neglect the care of his body for twelve years, bearing
with equanimity all pleasures and pains, whether arising from divine
powers, from men or from animals. The twelve years duly passed in
blameless wandering, the practice of religious discipline, and the patient
endurance of pain and pleasure. It was in the thirteenth year that Maha-
vira, seated in deep meditation beside a sal tree, near the town Grmbhika-
grama, attained to Nirvana, and the unobstructed, infinite and supreme
knowledge and intuition of a Kevalin (syn. Jina, Arhat). Then he became
aware of all states of gods or men or demons, Whence they came and whither
they go, their thoughts and deeds; he saw and knew all circumstances and
conditions of the whole universe of living things.
When the venerable ascetic Mahavira had thus reached the highest
intuition and knowledge, the time had come for him to teach the doctrine
of the Jinas. To this end the gods prepared for him a samavasarana or
preaching hall, and entering this by the eastern gate, he took his seat
upon the throne, and taught the Divine Law to gods and men.
During a period of nearly thirty years following, Mahavira wandered
to and fro, spending the rainy season in different cities, founding a great
community of monks and lay votaries, and teaching the five great vows,
the doctrine of the six classes of living beings, and so forth. At the end of
that time, in the town of Papa, the venerable ascetic Mahavira died,
cutting asunder the ties of birth, old age and death, becoming a Siddha,
a Buddha, a Mukta, one who is finally released, never more to return,
1 Thus, according to the Ac&r&nga Satra and the pictures. Another MS. states that the orna-
ments, etc., were received by Vai&ramana (who is never represented in the pictures). The Kalpa
Sutra, though it mentions the divine robe, and thus implies the presence of a divine donor, dis-
tinctly states that Mahftvlra was quite alone when he obtained eftfyd; this must be understood to
mean that no other human being was present. See also the descriptions of the pictures, and the
discussion by Hilttemann, loc. cit., pp. 68-70.
en]
INDIAN COLLECTIONS
entering the paradise of perfected souls (Igatpragbhara), above the world
and beyond the heavens of the gods. The Kalpa Sutra further states that
Mahavfra had nine Ganas and eleven Ganadharas, that is, nine companies
or orders of monks, established by eleven teachers, his disciples.
Much briefer lives of the Jinas Parsva (who is very possibly a real per-
sonage), Nemi and Rgabha follow. They are similar in most respects to
the life of Mahavira with only a difference in the names of persons and
places. We give here certain episodes peculiar to Parsva. The name
Par&va is in some way connected with a black serpent seen by his mother
before his birth. His cognizance is a serpent. Later in life he is guarded
by the serpent king Dharanendra who enters into the story in connection
with Katha. The ParSvanatha Caritra relates the story of nine prebirths
of Parsvanatha and Katha (originally the brothers, Marubhuti and Ka-
matha), in gach of which the former is slain by the latter, but dies for-
givingly. When Marubhuti is reborn as Parsva, Kamatha is reborn (1) as
Katlja or Kamatha, who becomes an ascetic and (2) as the Asura Megha-
malin. The rest of the story follows :
"One day Parsva sees Katha surrounded by a great concourse of people,
performing the severe five-fire-penance (pahcdgnitapas) . And he sees that
Katha has thrown a great serpent into a fire-pan which stands upon the
fagots of the fire. He asks the reason for this pitiless practice, inconsistent
with Katha's own austerities. Katha replies that kings might understand
elefants and horses, but that sages alone understood religion. Parsva has
the fire put out; the agonized serpent is reborn as Dharana, the wealthy
king of the Nagas in Patala, the subterranean home of the serpents.
Katha, as the result of his false practice, is reborn as an Asura by name
of Meghamalin.
"Parsva, happening to see on the wall of his palace a picture of the
Arhat, Nemi, who had taken the vow early in life, decides to do the same,
and to undertake the enlightenment of the world. Preparatory to his
consecration he distributes vast alms. To the songs and music of the
people he goes to a hermitage where the very trees and plants rejoice over
his presence. At the foot of an agoka-tree he renounces power and wealth,
plucks out his hair, and, at the age of thirty, obtains the knowledge due
to mental perfection. He wanders from place to place, instructing, and
[12]
JAINA PAINTINGS
acclaimed as a Saint. While standing in the forest of KauQ&mbI in the
kdyotsarga l posture, the serpent-king Dharana comes in great state to
do him honor, performs a mimic representation, and during three days
holds an umbrella over his head to protect him from the sun. He wanders
again, to many places, to find out where dwells the enemy Illusion. The
Asura Meghamalin (the soul of Kamatha) attacks the Lord ParSva with
tigers, elefants, and scorpions, but, when he shows no fear, they slink off,
as tho ashamed. Meghamalin then tries to submerge him in the waters
produced by a fearful thunderstorm; even then the Lord does not budge
from his place and his pious meditations. Dharana, finding out by su-
perior insight that Kamatha is attacking the Lord, fashions by means of
his serpent hoods an umbrella over his head: the Lord stands there like
a royal hansa bird, submerged in a deep trance, retaining his equanimity
in the face of both Kamatha's attacks and Dharana's devotion. Dharana
then excoriates Meghamalin 's hatred of the Lord, pointing out that he had
done him no injury, but on the contrary, had saved him from the sin of
burning up Dharana on the occasion of his uncanny practice. Megha-
malin then repents, resorts to the Lord, and goes home, determined to
devote himself to piety. Thus ends the drama of the persecution of the
soul of Marubhuti by the soul of Kamatha, carried on through ten exist-
ences." 2
The following account of the birth of Neminatha, the son of king Samu-
dravijaya and Queen Siva, is given in Ch. X of the Satrufijaya Mahat-
mayam (Weber, A., trans, by Burgess, J. in Indian Antiquary, XXX, 298,
1901): "At Sauripura, Siva the wife of Samudravijaya, dreamt at dawn
the fourteen great dreams, and at the very time, the 12th of Krtika-vadya,
Chitrnakshatra, a great sage descended from a chariot of the Aparfijita
gods and entered her womb. Then at midnight of the 5th of Sr&vana-
1 K&yotsarga: "The posture of one who stands upright, or sits, with his two arms hanging
down, and without any regard for his body, is called Kftyotsarga (abandonment of the body)."
Hemacandra, Yoga&stra IV, 132. 'The ascetic stands unmoveable, his arms held stiffly down-
ward, his knees pressed together, his feet four fingers' length apart, his toes stretched forward.*
Bhandarkar, R. G., Search far Sanskrit Manuscripts, 1887-91, p. 98, note. By this penance are
cleared away past and present sins that require expiation. The Kalpa SQtra mentions this penance
only in connection with Pftrdva: but our pictures represent Mahftvlra also in this posture.
1 Bloomfield, M.,Life and stories of the Jaina Savior P&rsvan&tha, Introduction, Baltimore, 1919.
[is]
INDIAN COLLECTIONS
suddha, ChitrAnakatra, she gave birth to a child of dark color with the
mark of a conch; then on the top of Meru the fifty-six Dikkumftris and
sixty-four Indras celebrated the birth of the Jina, Samudravijaya also
celebrated the event and gave his child the name of Arishtanemi (the 22d
Jina). He was nursed by a crowd of Apsar&s and waited on by gods who
had assumed his age at Indra's command. After this Samudravijaya
went into the garden to amuse himself, when Indra seeing the Sv&mi in
the lap of his mother joyfully saluted him and said to the gods that Samu-
dravijaya, in whose house the Sv&mi Nemi Tirthahkara had appeared as
a son, was indeed meritorious and happy, praising the lord exceedingly
for his bravery. Some of the gods present answered Indra that his praise
of the boy before them was unseemly for they had once dried up the whole
ocean and had pulverized great mountains with ease; and desiring to see
the strength of the Jina, they had come to the garden consecrated by him.
There they saw the boy caressed by people, some saying "live long," some
kissing him, some holding his fingers, some making him laugh by nodding
their heads, etc. When, afterwards, they found the Jina in his cradle
resting alone, they carried him off by stealth up into the sky. When they
had gone some thousand kos up, the lord in meditation, knew what they
were about, and to convince them of his powers, sunk them several thou-
sand kos below the ground. Seeing their plight Indra pitied them, and
coming to Nemi requested him to deliver them, as they had committed
this fault through ignorance; and, after liberating them and putting
the lord in his cradle, Indra returned to Svarga. Samudravijaya and
others witnessing the power of Nemi, were highly pleased and returned
home, celebrating a festival befitting the occasion in the Arhant temple.
Henceforward the lord grew up protected by the gods under orders of
Indra. " At Dvaraka the lord Ari?tanemi gradually grew into a young
man.
Indra now describes the peculiar virtues of Nemi to the gods. The
latter unbelieving, assumed human form and waged war upon Dvaraka;
Balarama and Krishna were defeated and made prisoner. "Then Krish-
na's wives went to their brother-in-law, Nemi, and said humbly that he,
being a Jina, a Ttrthafikara, was of unlimited power, and that though his
brothers had been carried off he was unmoved and his valour would be
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JAINA PAINTINGS
of no account unless it were shown now. Nemi considered for a while and
then came out to the assembly, when Samudravijaya who was about to
proceed against his enemies was brought back by Kroshfaki, who told
him his efforts would be fruitless as these enemies could be defeated only
by a TlrthaAkara. In the meantime M&tula the charioteer of Indra had
brought a chariot by his master's orders and told Nemi to mount. He did
so with the weapons of war and completely defeated the gods. Indra came
down and praised him greatly, requesting that he would pardon the gods
for their folly. The gods bowed when they saw Indra and prostrated
themselves to the Tfrthankara, who, pardoning them, went to Surad-
h&r&pura and released Anadhj-ishni, Balarama and Krishna. Indra re-
quested the lord to take them to holy places Satrufijaya and others for
their benefit. The lord, sitting in the vimdna of Indra, went with them to
Satrufijaya, told them its history, and thence came to Girnara and then to
Dvaraka. Leaving Nemi and his brothers there, Indra and the others
went to their respective abodes."
The following account of the episode of Krna's conch was obtained by
J. Burgess from a Jain priest (Indian Antiquary, II, 1874, p. 138): "His
cousin Krishna was also of superhuman strength, and was able to blow
a large conch from which it was believed no other person could produce a
blast. One day Nemin&tha saw it lying on the ground, and asking why
that toy was lying there, he took it up and blew such a blast upon it as
quite alarmed Krishna who began to enquire who it was that could blow
upon his 6afikha. On finding it was his cousin, he became jealous of him
as a rival, and accordingly directed his hundred gopis to excite amorous
thoughts in Nemin&tha and shame him into marriage, thinking inter-
course with women the only way to put down his strength. The gopis
began to tease him and tell him as he was grown up to manhood he ought
to marry. At first he refused, but after a deal of reviling and reproaching
he consented, and Krishna selected for him R&jimati the daughter of
Ugrasena of Girn&r whose palace is still shewn, being a ruin near the
Jun&gacjh fort beside the Bhumriyo kuo. When the wedding day came
and Nemin&tha approached Jun&ga^h, he saw a flock of sheep and herds
of cattle collected to be sacrificed for the people that had assembled to
celebrate the wedding: the sheep were bleating piteously, and, struck
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INDIAN COLLECTIONS
with pity for them and the vanity of human happiness, and to save the
lives of so many animals, he resolved to become an ascetic, gave up the
world, and retired into the Girn&r hills, followed by his intended bride,
and there they both led a platonic life." A similar account is given in the
Satrunjaya Mah&tmayam Ch. XIII, where it is stated that the conch
Paficajanya had been bestowed upon Krgna by the god of the sea.
[16]
JAINA PAINTINGS
SUMMARY OP THE STORY OP KlLAKACARYA 1
/. Birth. II. The Dethronement of Gardabhilla
There was a town in Bharatvarga, named Dharavasa. The king of that
town hight Vajrasirhha, and his chief queen was the peerless Surasundari;
they had a son expert in every science, named Kalakakumara. One day
he was returning from a drive, and saw a Jain priest preaching in the
mango park. He approached the monk, bowed, and listened; and was
converted and joined the order, to his father's great grief, together with a
a numerous company of princes. When he had completed his religious
studies, his teacher established him as head of the order in his own stead.
With five hundred monks he proceeded to Ujjayinl, and there remained
for some days, preaching. Meanwhile there also arrived a party of pious
nuns, amongst whom was the beautiful and devout Sarasvati, Kalaka-
carya's younger sister. 2
Gardabhilla, king of Ujjayinl, passed that way, and seeing Sarasvati,
desired her, and carried her off against her will, calling out to her brother
for help. Kalakacarya remonstrated with the king, saying that if he set
a bad example, law and order would be destroyed, and so forth; but in
vain. The infatuated king was not to be dissuaded. For a blind man does
not see what is visibly before him; but one blinded by passion sees what
does not exist lotus blossoms, the moon's disk, and a whole catalogue
of beauties, where in sooth exists naught but unclean flesh.
Kalakacarya summoned the fourfold Synod; but that also in vain, and
Kalakacarya made a vow, either to drive the king out of his kingdom, or
himself to go the way of those who are the enemies of the faith and destroy
piety. So saying, the Wise One reflected that he must have recourse to
cunning, since the king was brave and powerful, and expert in ass-magic
(gaddhabhle mahavijjae). He dressed himself as a madman, and frequented
cross roads and market places, calling out i If Gardabhilla is king, what
of that? If his zenana is fair, what of that? If I go begging, what of that?
Or if I sleep in a deserted house, what of that? ' When the townsfolk heard
1 Based on the translation of H. Jacobi, Zdtschrift der deutschen morgenldndischen Gesett-
schafl, Vol. XXXIV, 1880, pp. 247 seq.
2 I. e. Kalaka, formerly Kumfira (prince), now Acfirya (adept).
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INDIAN COLLECTIONS
the Wise One crying out in this way, they said 'Alas, the king must be
committing some sin, since Kalakacarya, the refuge of the virtuous, has
deserted his Order and wanders in the town a madman; alas! alas!'
When the ministers heard that all the folk of the city blamed the king
in this fashion, they said to him, 'Sire, do not so, but set free the nun,
since great harm is coming of it; and he who injures the monk, plunges
himself into a sea of misfortune/ But the king was wroth, and recom-
mended them to reserve their exhortations for their grandmothers. They
were astounded, and murmured, 'Who can restrain the ocean when it
overflows its banks? '
Now the Wise One left Ujjayinl and went to the land of the Saka clan.
The princes are there called Shahis, and their overlord the Shahan Shahi.
Kalakacarya remained at the court of one of the Shahis, and brought him
under his power by means of mantras and tantras (charms and spells).
One day when the Shahi was talking with the Wise One, the doorkeeper
announced the messenger of the Shahan Shahi. He was brought in and
gave the king a present, a sword sent by his master. Thereat the Shahi 's
face darkened like the sky before rain. Then the Wise One reflected: 'I
see a strange thing; for when servants receive an honorable gift from their
masters, they are wont to be glad like peacocks at the sight of clouds.
I will enquire what this may mean.' When the messenger had departed,
the Wise One asked the Shahi why he was thus downcast at receiving a
mark of favour from his master. 'Honorable, sir/ he replied, 'that was
not a sign of favour, but of anger. When he is wroth with us he sends a
sword, and we must slay ourselves therewith, and since he is mighty, his
commands must be obeyed.' The Wise One enquired, 'Is he angry only
with thee, or with others also?' The Shahi answered, 'He is angry also
with the ninety-five other Shahis, since the sword bears the number 96.'
The Wise One said, 'If so, do not slay thyself.' But the Shahi replied,
'Then he will destroy our whole race; but if I am dead, he will spare
others,' The Wise One said, 'If so, send a messenger to the other princes,
to say that we shall set out for Hindustan.' The messenger was sent
and the ninety-five Shahis appeared. Then the first Shahi asked the Wise
One what was to be done next. He replied, 'Cross the Indus with an
army and baggage, and go to Hindukadesa.'
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JAINA PAINTINGS
So they did and came to SurS?tra. Then it was the rainy season; so
they parcelled out the land and remained there while the roads were im-
passable. Then came Spring with his white lotus flowers, like a king with
white umbrellas; when white herons are to be seen like white clouds before
the first rains; honoured by flamingoes like a Jina by famous kings; when
rivers are clear as good men's thoughts, the heavenly regions bright as the
words of a skilful poet, the welkin free from earthy stain as the body of
the highest ascetic; when the saptacchada trees are decked with flowers as
munis are decked with virtue; when the nights are gay with stars; when
earth shines bright with all her fields of ripe corn, beloved of the proud
bellowing bulls and happy herdsmen; when by night the bosom of the
earth, as it were, is bathed in a stream of moonray-nectar; when travellers
are led astray by the sweet songs of the careful farmers watching the green
rice-fields; when the cakravdka wakes to the accomplishment of his dreams
of love.
When Kalakacarya beheld such prowess of the Spring, he spake to the
Shahis, for the fulfillment of his wishes, saying, ' Ha! why do ye idle here? '
They said, 'Tell us what to do.' The Wise One answered, ' Capture
Ujjayini, the bulwark of Malwa; there shall ye find good living.' They
answered, 'With a good will, but we have no resources, for we brought
with us nothing more than bare necessities.' So the Wise One with magic
powder changed all the potter's stuff to gold, and said, 'Take this for your
needs.' They set out accordingly for Ujjayini.
When Gardabhilla heard of the enemy's approach, he marched forth
and met them on the borders of his country and joined battle. He was
defeated and his army dispersed like clouds before the wind. He drew
back into his city with the remnants of the army. The victors laid siege,
and made daily assaults. One day when they were storming the fort, they
saw that it was empty; and they asked the Wise One what this might mean.
He replied, 'To-day is the eighth, when Gardabhilla fasts and practises
his ass-magic; go see if there be a she-ass anywhere upon the walls.' They
saw that there was an ass, and showed it to the Wise One. He said, ' When
she makes a great outcry, on the accomplishment of Gardabhilla's rites,
immediately every creature two- or four-footed, in our army will fall to
the ground with blood pouring from his mouth. Take, therefore, all that
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INDIAN COLLECTIONS
are two- or four-footed and withdraw two miles from the walls; but give
me a hundred and eight accomplished bowmen.' So did they.
The Wise One said to the bowmen, 'When the ass opens her mouth to
speak, stop her mouth with arrows before she utters a sound; for if she
does so, we may shoot never more. Therefore wait in patience with bows
drawn to the ear.' So did they. They stopped the ass's mouth with a hail
of arrows, so that it could not utter any sound; and the magic beast fell
dead outright. The Wise One ordered his men to take the army prisoner;
they stormed the walls and entered Ujjayinl. Gardabhilla was captured
alive and brought in chains to the Wise One's feet. He said, ' Shameless
and vile wretch and evil-doer, soon art thou despoiled of power. So have
we done because thou didst shame a nun unwilling, and didst contemn the
Synod. He who robs a nun of honour, sets a fire at the root of the welfare
of the Jain faith. Long, indeed, shalt thou whirl about in the sea of life
and death, suffering many ills and the more so in this life than any other.
Scourging, imprisonment and disgrace are the flowers of the tree of re-
sistance to the Synod. Thou dost not merit that we should parley at all
with thee; yet out of pity, since we see thee branded with the burden of
many sins and surrounded by the flames of the fire of grief, we speak no
more. Go thou and do a bitter penance according to thy sins, if by any
means thou mayest cross the ocean of distress.' When Gardabhilla of the
evil deeds heard the Wise One speak thus, his very soul grew pale, and he
departed thence in misery. Dying in his wanderings, he wanders still in
the ocean of rebirth.
Then the princes appointed him as Shahi whom the Wise One chose,
and themselves enjoyed dominion as his vassals. Since they were of the
Saka race, they are called Sakas, and thus began the Saka dynasty. After
a time there arose a king of Malwa hight Vikramaditya, who overthrew
the Sakas; gloriously did he reign and rule, and he established his own era.
Subsequently another Saka king displaced that dynasty, and all the vassals
bowed before his lotus feet. When a hundred and thirty-five years of the
Vikrama era had passed, this Saka king established an era of his own.
Kalakacarya reestablished his sister in the pure practice of religion, and
himself became the teacher of the Sakas.
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JAINA PAINTINGS
///. Kalaka in Bharoch with Balamittra. IV. Kalaka in Pratisthana with
Satavdhana.
Balamittra and Bhanumittra, nephews of Kalakacarya were king and
crown prince of Bhfgukaccha. Their sister Bhanusr! had a son Balathanu.
The two brothers hearing of their uncle's residence in UjjayinI sent an
ambassador, with whom Kalakacarya returned. In Bhfgukaccha he
preached to his nephews, their sister and her son. The latter was con-
verted, and so too were many nobles and townspeople. The household
priest of Balamittra making objections, begging was forbidden. Kalaka-
carya departed to Pratigthana in the Maratha country, to the pious king
Satavahana.
V. Kalaka's disobedient pupils: and his visit to Sagaracandra
The pupils are disobedient: Kalaka leaves them and visits his pupil's
pupil .Sagaracandra, arrives after dark, and unrecognized owing to the
darkness of the night, engages in disputation with him. The repentant
pupils come in search of him.
VI. Kalakacarya and Indra
Once on a time the king of the gods (Sakra or Indra), his shining form
decked with long garlands, broad of chest, his arms stiff with splendid
bracelets and arm-rings, earrings dancing on his cheeks, crowned with the
shining diadem bright with the rays of rare gems, gazed upon the world;
and he saw the Jina Slmandharswami in Purva Videha, in the assembly of
the religions. At once he bowed towards him. While he from his place
listened to the Jina's teaching, the latter chose the Nigoda rule as the
subject of his discourse. When he had heard all, Indra was astounded,
and clutching his splendid locks, with eyes wide opened, he exclaimed,
' Honoured Sir, is there in Bharatvarga (India) in this Dussama age, any
one who can thus exactly expound the Nigoda?' The Jina replied: '0
venerable god, there is in Bharata one Kalaka who understands the Nigoda
even as I have expounded it.'
When the Lightning-wielder (Sakra) heard this, he proceeded thither
in the shape of an aged Brahmana, and with respectful greeting asked
INDIAN COLLECTIONS
the Wise One: 'Honoured Sir, be good enough to expound the Nigoda
rule, according to the teaching of the Jina of your day, for I long greatly
to hear it.' The sage replied in sweet and clear tones: 'Since thou hast
this curiosity, O fortunate one, listen attentively.'
After hearing the exposition, Sakra (Indra), to test the monk's wisdom,
enquired, 'If it be allowed, pray tell me how long I should have to live if
I refrained from all nourishment, taking into consideration my great age.'
When Kalaka reckoned up the days and months and years and centuries
he found they came to two aeons, and knew by insight that this must be
the Lightning-wielder. When the Wise One said accordingly: 'Thou art
Indra.' The Brahmana resumed his own form, in fine attire and wearing
dancing earrings, bending low, touching the earth with brow, hands, and
knees, filled with love, he made obeisance to the lotus feet of the Wise One,
saying, ' Honour to thee, Lord of Sages, adorned with every virtue, who
even in this degraded Dussama age knowest the doctrine of the Jinas.'
Having thus honoured him, the king of gods returned to heaven. At
another time the Wise One, when he knew the end of his days was come,
practised the asceticism of abstaining from food, and reached the farther
shore.
JAINA PAINTINGS
SUMMARY OP THE STORY OP SALIBHADRA
The story of Salibhadra is told in a number of versions. The follow-
ing is a summary of the original Sanskrit text of Dharma Kumara from a
manuscript in the British Museum, kindly communicated by Dr. L. D.
Barnett :
" A poor village boy named Samgama, son of a widow, when half starved
gave to a hungry ascetic milk-rice (payasd) that his mother had with much
difficulty obtained for him. The boy promptly died, and as a reward of
his precocious piety and intelligence was reborn as the son of the merchant
Gobhadra and his wife Bhadra in Rajagrha, and was named Salibhadra.
He married thirty-two wives of his own caste, and lived in worldly hap-
piness."
The following summary of the story of Salibhadra is based upon Pro-
fessor Maurice Bloomfield's digest of Pradyumnasuri's mahakavya, 1 p. 167,
and our manuscript :
The saintly youth Samgama, son of the poor widow Dhanya, grows up
in the village of Saligrama, in Magadha. He becomes a herdsman. One
day he asks his mother for a dish of sweet rice-milk. She cannot afford to
buy the materials, but her neighbors make her a present of them, and
Dhanya gives the dish of rice-milk to her son. Just then a great ascetic,
about to break a month's fast, arrives. Samgama, with profound devo-
tion, hands him his dish of rice-milk; and receives the blessing of the ascetic.
Ultimately Samgama abandons life by fasting.
He is reborn as Salibhadra, the son of the merchant prince Gobhadra
and his wife Bhadra, in the city of Rajagrha: his conception is announced
in Bhadra's dream of a field of ripe rice, which suggests Saligrama (rice-
village). The ruler of Rajagrha is Srenika, whose wise son Abhayakumara
is also his minister. Gobhadra marries his son to thirty-two beautiful
women, and proposes to retire from the world. Meanwhile Mahavlra
arrives, and Gobhadra, in spite of the protests of his wife, and son, takes
his vows at the Lord's hands. Subsequently he dies by fasting and is re-
1 The SdlibhadraCarita, a story of conversion to Jaina monkhood: by M. Bloomfield, J. A. O. S.
XLIII, 4, 1923, pp. 167ff . I am greatly indebted to Professor Bloomfield for an advance proof of
this valuable article.
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INDIAN COLLECTIONS
born in the Saudharma heaven. Thence he descends as a god to visit his
son and bestows upon him rare treasures and divine grace and beauty
and great prosperity.
Merchants now come from abroad with rare and magnificent shawls
which they offer to King Srenika, who, however, thinks that he cannot
afford to buy them. Salibhadra's mother then buys the eight shawls, cuts
each into four parts and presents them to Salibhadra's wives, who in turn
place them at his feet. Cellana, king Srenika's queen, hearing of the shawls,
begs him to take the shawls from the merchants by force. He finds that
Salibhadra's mother has secured them, and repenting of his former parsi-
mony, offers to buy them from her. She, however, can do nothing as she
has already given away the shawls. The king's messenger reports these
matters to the king, who wonders what sort of man this wealthy Salib-
hadra must be. The king sends his messenger to invite Salibhadra to visit
him. His mother Bhadra goes instead and invites the king to visit Salib-
hadra; he agrees, and is received in state, and seats himself upon a jewelled
throne. The occasion of the king's visit is the means of Salibhadra's en-
lightenment (pratyekdbodhi) ; for he reflects that even the highest ruler is a
mere living creature with hands and feet like himself. The only real king
is the man of great virtue. Salibhadra, with his wives, nevertheless pays
his respects to the king, who is delighted.
Bhadra now prepares a great shampoo for the king. As he is being
rinsed, his signet ring falls into the water, and is lost, but when the water
is poured away, it is discovered in the jewelled bath, where, however, its
glory is dimmed by the splendor of its surroundings. The king is some-
what cast down by this; but recognizes Salibhadra's superior spiritual
powers. He returns to his palace. Salibhadra's vairagya (disgust of the
world) now ripens. He purposes to abandon the household life and to
become an ascetic (sadhu). Bhadra endeavors to dissuade him, but the
only compromise he will make is to abandon his wives one by one on suc-
cessive days, thus postponing his final renunciation of the world for thirty-
two days.
In the same city lives Salibhadra's sister, Subhadra, whose husband is
called Dhanya. She tells him in tears that Salibhadra is daily abandoning
his wives. Dhanya remarks that such a gradual process of renunciation is
JAINA PAINTINGS
far from admirable. Dhanya's seven other wives protest against this criti-
cism on Dhanya's part, as he is making no renunciation whatever himself.
He exclaims in reply that his wives have become his spiritual guides, for
what they have said has suggested to him to wait upon the Lord and to
become a homeless ascetic himself.
In the meantime Mahavlra has taken up his residence on the Vaibhara
mountain. Dhanya with his wives resorts to the Lord. Salibhadra hears
of this and reproaches his mother for her resistance. She now realizes that
Salibhadra cannot be dissuaded; accordingly she visits the king in order to
borrow the royal insignia for the ordination ceremony (dZksa). The king
himself promises to make the necessary arrangements.
Salibhadra with his mother and wives, and accompanied by the king,
now resorts to Mahavlra's samavasarana palace and receives ordination at
his hands. Dhanya and his wife Subhadra follow him into the homeless
life. The king and the sorrowful women return to Rajagrha.
Salibhadra and Dhanya enter upon a life of severe asceticism. At the
end of twelve years they return to Rajagrha in the following of Mahavlra.
They are about to break a month's fast; and visit Bhadra's palace as mendi-
cants, 'emaciated, silent, unmoved.' But Bhadra, eager to do honor to the
returned spiritual heroes, is so deeply moved that she does not recognize
them in their changed guise, and so misses the honor of offering to them
the food with which they shall break their fast. With perfect equanimity
they move on, and receive food from a woman named Mathataharika, who
had in the former birth been Salibhadra's mother in Saligrama.
Salibhadra and Dhanya now determine to pursue their path to the
end; they practise more severe asceticism, and attain to death by starva-
tion. Meanwhile Bhadra and her daughter-in-law, accompanied by King
Srenika go out to do honor to the great ascetics. On finding them at the
point of death, they are profoundly affected. The king, however, so com-
forts Bhadra that she is able to encourage her son in his efforts toward final
victory. Salibhadra and Dhanya are reborn in the Sarvarthasiddha
heaven, where they enjoy the highest bliss.
[25]
INDIAN COLLECTIONS
JAINA COSMOLOGY l
The Universe is eternal, and has the form of a spindle resting upon an
inverted cone. The spindle and cone together are sometimes represented
diagrammatically in the form of a woman with arms akimbo. 2 Above the
summit of the spindle is the paradise of the Siddhas, who have attained
release and passed beyond rebirth. This paradise is all of white gold. It
is known as the Igatpragbhara and -by other names. In the middle is a
white rock Siddha Sila, Silatala or Sila, having the form of an inverted um-
brella, thick at the middle and diminishing outward to an infinitely small
dimension. Above this rock is the abode of the Siddhas (Mahavlra and
other Tlrthakaras).
A description of this place to which perfected souls pass, leaving their
bodies here below, is given in the Uttaradhyana Sutra:
"Twelve yojanas above the Sarvartha (heaven) is the place Igatprag-
bhara, which has the form of an umbrella. It is forty-five hundred thou-
sand yojanas long, and as many broad, and it is somewhat more than three
times as many in circumference. Its thickness is eight yojanas; it is
greatest in the middle, and decreases towards the margin till it is thinner
than the wing of a fly. This place, by nature pure, consisting of white gold,
resembles in form an (inverted) open umbrella, as has been said by the
best of Jinas. [Above it] is a pure blessed place, which is white like a
conch. . . . There at the top of the world reside the blessed perfected souls,
rid of all transmigration, and arrived at the excellent state of perfection." 3
The Igatpragbhara is inhabited by fifteen varieties of Siddhas, of
whom the Tirthakara-siddhas are first.
It should be noted that the miniatures, as well as Jain tradition, appear
to identify the place described as Igatpragbhara with the actual Siddha
Sila. In the miniatures, the place resembling in form an (inverted) white
umbrella, is represented in section as a crescent, very thin at the margins
and relatively thick in the centre. This crescent has been pointed out to
me by a Jain priest, in the actual miniatures, as the Siddha Sila; and some
1 This subject is treated in great detail by Kirfel, W. in Die Comographie der Inder, Leipzig,
1920.
9 E. g. in a diagram reproduced by Kirfel, loc. cit., tafel 4.
1 Jacobi, Gaina Sutras, II, Sacred Books of the East, Vol. XLV, pp. 211-213.
[26]
JAINA PAINTINGS
of the miniatures, moreover, are thus labelled in a contemporary hand*
Huttemann is certainly mistaken in describing the crescent as that of the
moon. 1
Below the Igatpragbharft are the five heavens (Vimanas) of the Anut-
tara gods, that of the Sarvarthasiddhas being central, and those of the
Vijayas, Vaijayantas, Jayantas and Aparajitas being disposed in a hori-
zontal plane around it. All things below the Igatpragbhara are included
in the Samsara or sphere of change, mortality and rebirth: nevertheless
the gods of the highest heavens reside in these heavens for periods almost
inconceivably long.
Below the five heavens of the Anuttara gods are the nine heavens of
the Graiveyakas, arranged one above the other; the Graiveyaka and
Anuttara heavens together form the upper half of the spindle.
Below them are the twelve heavens of the Kalpabhavas (sixteen ac-
cording to the Digambaras), arranged one above the other, completing
the lower half of the spindle. All the gods Inhabiting the various heavens
(vim&nas) above the "waist" are called Vaimanikas.
The "waist" is formed by Mount Meru, the axis of the universe, and
the lands and seas disposed about it horizontally. Here belong the Bhava-
nadhipati (Asuras, Nagas, etc.), Vyantara (Rak^asas, Kimnaras, Gand-
harvas, etc.), and Jyotigka gods (Suns, Moons, Planets, etc.), and finally,
also men.
The geography of the worlds about Mount Meru is as follows: There
is a central continent around Meru, called Jambudvipa Bharata. Around
this is the Salt Sea, separating it from the continent called Dhatuki-dvlpa.
Around this again is the Black Sea, separating it from the continent
called Pugkara-dvipa. The four parts of the two outer continents, and the
two parts (Bharata and Airavata) of Jambu-dvipa, constitute the "Ten
Regions" or "worlds." The inner half of Pu?kara-dvipa is separated
from the outer half by a range of impassable mountains, the Manu?ottara
Parvata. Each continent has an elaborate system of rivers and mountains.
The southern segment of Jambu-dvipa, called Bharata-varga, is the
land of India, where the twenty-four Tirthakaras, of our age (avasarpini)
1 Hlittemann, Miniaiuren turn Jinacarita, Baessler Archiv, 1913, p. 74.
[27]
INDIAN COLLECTIONS
have made their appearance. It will be seen that the Bharata-varga of the
map, with its mountain ranges to the north, its two great rivers, and the
sea round it except on the north, corresponds to the actual geography of
India, with the Himalayas, Indus, and Ganges, and the Indian Ocean.
The cone below the " waist" contains the seven hells or underworlds
(Narakas).
FURTHER EXPLANATION OP VARIOUS TERMS
I. It should be observed that every Jina has his own particular com-
plexion, cognizance, and dffcsfl-tree. These are as follows in the case of the
four chief Jinas whose lives are illustrated in the miniatures:
Jin* Complexion Cogniiance Dlkaft-trfe
Mahfivlra Yellow Lion (kefari-wwha) Asoka
Pfiiiva Blue Serpent (sarpa) DhfitakI
Neminatha Black Conch (Sankha) Ve(asa
Rabha Golden Bull (vfsa) Vata (banyan)
II. A more particular account must be given of a Samavasarana. This
is, briefly, a walled enclosure prepared by Indra, or the minor gods, in-
tended for the delivery of a religious discourse by a Jina immediately after
he becomes a Kevalin. The following description of a Samavasarana is
extracted from the Samavasarana Sthavana: l
Wherever the Jinas exhibit the condition of Kevalin, in which &11
substances manifest themselves, there the Princes of the Air (Vayu-
kumaras) cleanse the earth for one yojana all around. The Cloud-
princes (Megha-kumaras) rain down fragrant water, the gods of the Sea-
sons spread heaps of flowers, and the Vana-Vyantaras make the surface of
the earth variegated with rubies, gold, and gems. There are three ram-
parts: the innermost, intermediate, and outermost. [The first] is con-
structed of gems, with the battlements of rubies, by the Vaimanakas; [the
second] of gold, with the battlements of gems, by the Jyotigkas; [and the
third] of silver, with the battlements of gold, by the Bhavanapatis. In
a round Samavasarana the ramparts are 33 dhanus and 33 angulas wide,
500 dhanus high, and 1 krosa 600 dhanus (counting both sides) distant
from each other. Each rampart has four gates made of gems. In the
1 Bhandarkar, Jaina Iconography, Indian Antiquary, Vol. XL, pp. 125-130 and 153-161.
[28]
JAINA PAINTINGS
centre is a gem-studded pedestal, with four doors, three steps, and as high
as the figure of the Jina, 200 dhanus broad and long, two and a half krosas
high from the ground level. [In the centre of the dais stands] the
Asoka tree, twelve times as high as the body of the Jina, and exceeding a
yojana in breadth. Then [underneath] is [a pedestal called] a devaccharhda,
[and on it are] four lion-thrones accompanied by [four] footstools. (The
four lion-thrones are occupied by the Jina himself on the East, and on the
other sides by three reflections of the Jina, produced by the Vana-Vyan-
taras.) At every gate the Vana-Vyantaras put up flags, parasols,
makaras, . . . garlands, pitchers; a triple arch (tor ana), and incense vases.
Having entered from the East and from left and right, having sat on
a seat facing the East, having placed his feet on a footstool, and having
saluted the congregation (tlrtha), the Lord discourses on the Law. (The
congregation consists of gods, men, and animals.) There are two step-
wells in each corner when it is square and one [at each gateway] when the
Samavasarana is round.
The Kalpa Sutra and the Acdrdnga Sutra do not expressly mention
either the Samavasarana or the Siddha Sila. But the constant representa-
tion of these places in the miniatures shows that the mention of Mahavlra's
preaching (samosarai) the Law to gods and men, after attaining the state
of a Kevalin, was understood to imply also the place of preaching, the
Samavasarana; and in the same way the statement that he became a
Siddha implied that he went to the Siddha Sila.
III. The Eight Auspicious Objects (Astamangald). Representations
of the Eight Auspicious Symbols constantly recur in Jain art.
The names of the auspicious objects are given as follows in the Aupa-
patika Sutra; Sanskrit or English equivalents are added in parentheses:
(1) Sotthiya (svastika); (2) Sirivaccha (Sfivatsa); (3) Nandiyavatta;
(4) Vaddhamanaga (powder-box); (5) Bhaddasana (throne of fortune);
(6) Kalasa (water-jar); (7) Maccha (fishes); and (8) Dappana (mirror).
[29]
INDIAN COLLECTIONS
JAINA LITERATURE 1
IN course of time the Jain community achieved (OF condescended to) a
systematic organization. There came into existence monuments, mon-
asteries and schools. To this development of a cult corresponded a literary,
scientific, and artistic activity, of which the earliest results brought the
doctrine into fixed forms. Probably most of the original canonical Jain
literature (the 'old books ' now lost) thus took shape early in the third cen-
tury B.C. Bhadrabahu, the author of the Kalpa Sutra, is stated according
to Jain tradition to have died 170 or 162 years after Mahavira himself
(528 B.C. according to Jain tradition) ; that is to say, Bhadrabahu died
358 B.C. The Acar&nga Sutra, which confirms the traditions of the Kalpa
Sutra regarding the life of Mahavira, is the first of the eleven afigas or
sections of the canon of the third century A.D. Z The whole Svetambara
canonical literature, known as SiddhSnta or Agama consists of (1) The
Twelve Aftgas, (2) the Twelve Upaftgas, (3) the Ten Painnas, (4) the
Six Cheda Sutras, (5) the Four Mula Sutras, and some other separate
texts.
The Kalpa Sutra contains three separate sections (1) the Jinacarita
(lives of Mahavira, ParSvanatha, Neminfitha and ^?abha), (2) theSthavi-
r&vafi (lists of Elders) and (3) the Samdcdn (rules for monks).
This Prakft literature was probably in the main handed down orally
until the time of the Council of Valabhi (454 or 467 A.D.), when new redac-
tions were prepared and the method of teaching novices from books was
substituted for purely oral instruction. The canonical literature as it
stands dates from this period, though at that time, and even subsequently,
additions may have been made. In any case, it is certain that the Kalpa
Sutra, including the main account of the life of Mahavira, " has been held
in high esteem by the Jainas for more than a thousand years." The oldest
available MS. of the Kalpa Sutra appears to be the illustrated Pa^an MS.
on palm leaf, dated equivalent to 1237 A.D. illustrated by Nahar and Ghosh
in their Epitome of Jainism. A MS. commentary dated equivalent to
1 The best account of the Jaina literature will be found in Winternitz, Geschichte der indischen
Ltterour,Vol.IL
* Jacobi, H., Sacred Books of the East, Vols. XXII, LIII, and Abh. fUr die Kunde des Mor-
genlandes, Bd. VII, Leipzig, 1879.
[30]
JAINA PAINTINGS
1307 A.D. is also known. But no doubt the Kalpa Sutra has been handed
down substantially in its present form from at least the fifth century A.D.
The non-canonical literature consists of commentaries on the canon,
and of original works on Dogmatics, Ethics, Discipline, etc., and hymns
addressed to the Jinas; it also includes a vast literature of stories. The
language of this literature is partly Prakj-t, or Jaina-Maharagtii, partly
Sanskrit. The most important text of the uncanonical literature, from the
present point of view is the edifying Kalakacarya Kathanakam so often
appended to the texts of the Kalpa Sutra. The Kathd-koa, Prabandha-
cintdmani and other collections of stories, compilations in the main of the
fourteenth century, depict a court life similar to that which is represented
in the illustrations to the Kalpa Sutra.
[31]
INDIAN COLLECTIONS
JAINA PAINTING
The tradition of Jaina art is as old as that of Buddhist art, and devel-
oped under similar conditions, and partly in dependence on Buddhist art.
Remains of a pre-Kugana Jaina stupa have been excavated at Mathura. 1
There are very extensive rock-hewn caves with relief sculptures not earlier
than the second century and mainly of the first century B.C. at Udayagiri
and Khancjagiri in Orissa. 2 In one of these caves there are remains of
paintings. Jaina sculptures of later periods are well known and need not
be referred to here. It is worth while to remark, however, that remains of
frescoes, apparently Jaina, of the seventh century, have been described by
Professor Jouveau-Dubreuil, from Sittanavasal near Pudukottai in south-
ern India. 8 It would appear from his account that these are comparable in
merit with those of Ajan^a, though far less extensive. The only other evi-
dence bearing on the history of Jaina painting before the thirteenth
century is a reference in the ParSva Carita, Sarga VI, to a picture of the
Jina Nemi painted on a wall. 4
The earliest illustrated manuscript known is one of the Kalpa Sutra, on
palm leaf, dated equivalent to 1237 A.D. preserved in the Patan bhandar
(monastic library). 6 Here, as in Nepalese MSS. and in the later Jaina
MSS. on paper, the illustrations take the form of square panels applied to
the page without organic relation to the text, though as will appear later,
the intrinsic quality of the painting and the script are in perfect accord.
Indian art has never developed book illustrations as such (illustrated MSS.
of any kind are very rare), and the square panels we have referred to must
be regarded, as it were, as excerpts from the surfaces of painted walls (of
the type of the Degaldoruwa Vihara in Ceylon) 6 reduced in size and added
to the written page. It is very evident from the practical identity of the
composition of the pictures in all the manuscripts that the art as we meet
it represents the survival of an old hieratic tradition in which the stories of
1 Smith, V. A., The Jain Stupa and other antiquities of Mathura,
1 Cambridge History of India, Vol. I, pp. 639 ff .
8 Jouveau-Dubreuil, The PaUava Painting, Pudukottai, 1920.
4 Bloomfield, M., The life and stories of the Jaina Savior Par$vanatha, 1919.
* Nahar and Ghosh, Epitome of Jainism, Calcutta, 1917, pp. 696, 706.
Coomaraswamy, A. K., Mediaeval Sinhalese Art, frontispiece.
[8*]
JAINA PAINTINGS
the lives of the Jinas had long been presented in accordance with familiar
formulae.
After the thirteenth century the next dated illustrated manuscript is
the Kalpa Sutra of the India Office Library, dated equivalent to 1427 A.D. 1
There is another illustrated Kalpa Sutra in the British Museum (MS. Or. 5,
149) dated equivalent to 1464 A.D.; l and a number of other fifteenth-cen-
tury MSS. of the Kalpa Sutra in the Museum of Fine Arts, described below :
not all of these are dated, and it is possible that some are earlier than the
fifteenth century, particularly the Kalakacdrya Katha, M. F. A. 17.2279.
There are other illustrated Kalpa Sutras probably or actually of fifteenth-
century date, in the Freer Gallery, Washington, in the Museum fiir Volker-
kunde, Berlin (MS. 1, C. 2,367) and in the Royal Library, Berlin, 2 and in
the Nahar Collection in Calcutta, and others in the various Jain libraries
in Patan and Jaisalmer.
In discussing the qualities of Jain painting, accordingly, it must be
understood that the reference is to the illustrations in the fifteenth-century
manuscripts in the Museum collections and to those of similar manuscripts
elsewhere. The art is one of pure draughtsmanship; the pictures are bril-
liant statements of the facts of the epic (the life of Mahavlra, like the
Buddha canto, is essentially an epic), where every event is seen in the light
of eternity. To call this pure drawing, implies that it is an art of symbols
and indifferent to representation. On the other hand, it is not calligraphic,
that is to say that elegance or an elegant combination of lines is not de-
liberately sought, and in this sense the drawing is more like script (such
as that of the accompanying text) made to be clearly and easily read.
There is no preoccupation with pattern, color, or texture for their own
sake; but these are achieved with inevitable assurance in a way that
could not have been the case had they been directly sought. The draw-
ing has in fact the perfect equilibrium of a mathematical equation, or a
page of a composer's score. Theme and formula compose an inseparable
unity, text and pictures form a continuous relation of the same dogma in
the same key.
1 Jacobi, H., S. B. E., Vol. XXII and in Abh. fttr die Kunde des Morgenlandes, VII, 1, 1879,
and Zeit. der deutsch. morgenl&ndischen Gesellschaft, XXXIV, 1880. Coomaraswamy, A. K.,
Notes on Jaina Art, Journal of Indian Art, 1914.
* Hiittemann, W., Miniaturen zum Jinacarita, Baessler Archiv, 1913.
[33]
INDIAN COLLECTIONS
The physical peculiarity in the delineation of human forms, particularly
the angularity of the features and the projection of the further eye, are in-
cidents of local color independent of the quality of the art, the inevitable
stigmata of time and place. In a wider sense the same applies to physical
peculiarities such as the broad chest (often so much exaggerated that a
distinction of the male from the female form is almost lost) and lion waist,
and the large eyes with their corners extended to the ear, 1 which are the
common taste of India and not peculiar to Jaina works.
That the handling is light and casual does not imply a poverty of crafts-
manship (the quality of roughness in 'primitives' of all ages seems to un-
sophisticated observers a defect), but rather perfect adequacy it is the
direct expression of a flashing religious conviction and of freedom from any
specific material interest. This is the most spiritual form known to us in
Indian painting, and perhaps the most accomplished in technique, but not
the most emotional nor the most intriguing. Human interest, and charm,
on the other hand, are represented in A j ant a painting and in late Rajput
art.
The colors employed in the illustrations of Jaina manuscripts are gold
(either as gold leaf forming the foundation of the painting, or gold paint),
yellow (which takes the place of gold as representing flesh, in MSS. where
gold is not employed) black, white (pure white and a pearly white), red,
blue, green, and pink. In a majority of MSS. not only is there a marginal
legend (sometimes written however upon the picture itself) describing the
scene, but also a thumb-nail outline sketch of the subject; it may be in-
ferred from the presence of these sketches that the scribe having left the
picture space blank, the painter, in going over the work to be done made
these diagrammatic notes for his own guidance. It is to be presumed, ac-
cordingly, that the scribe and the painter were not identical persons.
A word may be said on the form of the Jaina MSS. They consist of
oblong leaves, averaging some 11.5 X 26 cm. A central string hole is indi-
cated by rubrication, but never used; the indication of the string hole thus
survives as a vestigial ornament. Almost all MSS. were rubricated; more
elaborate decoration is rare. The MS. leaves are guarded by cardboard
1 Which might be illustrations to the Rtijatdrabgini, 1, 216, 'the very thin line of antimony
which appeared to play the part of the stem to the ruby lotuses of their ear-ornaments.'
[34]
JAINA PAINTINGS
covers (pafan) which may be painted or covered with printed cotton or
embroidery. Hinged cards, i. e., folders with one broad and one narrow
leaf, called puthd, are sometimes used for convenience of reading. The
MSS. are not as a rule tied by a cord (though elaborate book braids,
(kora) are sometimes employed), but wrapped and tied in handkerchiefs,
which may be elaborately embroidered.
It is hardly necessary to lay stress upon the value of the Jaina paintings
as illustrations of the manners and customs, costume, textile designs, archi-
tecture, and furniture of mediaeval India. We see for example, the routine
of the king's daily life his athletic exercises, toilet (with female attend-
ants), darbar ('adorned' as Indian authors would say, by the presence of
military officers, courtiers, brahmans and dancers), consultation of brah-
mans, the receiving of instruction from holy men, worship of the symbols
of the Jinas, riding forth in state on richly caparisoned horses or elephants,
or in a horse-drawn two-wheeled ekka.
Women observe pardah: they naturally play a somewhat restricted
part in these lives of the saints, where they are of importance mainly as
the mothers of the Jinas (we must not forget that in India, motherhood is
at once a glory and a source of great power). They appear also as dancers
and as nuns. Armies are represented on the march, and as investing walled
cities. Monks are constantly represented, sometimes giving instruction,
sometimes with pages of sacred texts which they expound, and often with
a table before them supporting a book. Animals incidentally represented
include the elephant, horse, ass, lion, monkey, bull, deer, dog, cobra,
parrot, goose (harhsa) and scorpion, and in some of the cosmological dia-
grams a further variety including tigers, hares, peacocks, cranes, ducks,
crows, and other birds, fish, and the mythical bherunda 1 (here a flying
elephant carrying other elephants).
Kings wear a dhoti, tiara, and jewellery, with the upper half of the body
and the feet bare: kings and male attendants and soldiers have long
hair knotted in a chignon and black beards and mustachios; beardless
figures other than Jinas and monks are in almost all cases those of
1 Bherunfa or bh&ran4a: see Weber, Satruftjaya Mahatmayam, trans. Burgess J., Indian Anti-
quary, XXX, 1901, p. 289, footnote; and Coomaraswamy, Mediaval Sinhalese art, pp. 84, 85; also
Kirfel, W., Die Cosmographie der Inder, tafel 5, lower right hand corner (the same form is also
found on the Mughal hunting carpet, gift of Mr. Winthrop Ames, in the Museum of Fine Arts).
[85]
INDIAN COLLECTIONS
women. The Saka king Gardhabilla and his men wear coats of the an-
garkhti, or jOm& type, as in the Rajput and Mughal paintings. The fasten-
ing is sometimes on the right, sometimes on the left side. The Sakas are
also represented in what appears to be chain armor, covering the thighs,
with a short coat above. Male figures other than kings are bareheaded:
no turban is anywhere represented. Queens wear the dhott, and a tight-
fitting bodice (kancufa or cott) ; with or without the tiara. Their long hair
hangs in a single braid, ending in a tassel. Saints in glory are dressed
like kings, elsewhere in monastic robes, which are white, voluminous,
and semi-transparent (the books appear to belong entirely to the Sve-
tambara sect).
The formulae of Jaina painting naturally exhibit numerous resem-
blances and parallels to those of Rajput and other Indian paintings. Thus,
the viewpoint is much elevated, so that in landscape subjects the horizon
reaches nearly to the top of the page, leaving only a narrow strip of sky in
which are depicted heavy storm clouds. The manner in which these clouds
are represented is totally distinct from that of Persian and Chinese art, but
like that of Rajput Painting, and of older sculpture, and like that of eight-
eenth-century Sinhalese painting, where, however, the formula is reduced
to more arid terms. A lotus rosette is occasionally employed to fill space
(cf. pi. 1, folio 49 with Medi&val Sinhalese Art, frontispiece). Water is
represented by lines crossing at various angles, with or without fish. Rocks
are represented by an accumulation of jagged peaks not exactly like any-
thing else in Indian art, but in a manner related to that of the South Indian
palampore designs.
The nearest relatives of Jaina painting are the Nepalese book illustra-
tions, typically of the eleventh and twelfth century on the one hand, and
the earliest of the Rajput Rdgmalds on the other. Nepalese painting has
incidentally a physically similar quality of outline, but with far more
aesthetic intention and greater reliance upon subtleties; it is refined,
and exhibits a taste and preciosity quite alien to the brilliant notation of
Jaina art. Rajput painting, on the other hand, though likewise founded
upon older traditions, is a new development reflecting the inspiration of
the mediaeval Vaignava devotional revival, and is far more emotional than
either Nepalese or Jaina art. Moreover, the early Rajput Ragmalas are
[36]
JAINA PAINTINGS
essentially paintings rather than drawings; their concern is with human
experience spiritually interpreted, using genre as a medium, and relatively
realistic. In all these respects the Rdgmdlds are nearer to Ajanta than to
Jaina painting. But as in Jaina painting the physical surfaces of the
Rajput 'primitives' the texture of the color and the quality of the line
are rough, and justifiably so because of the spiritual impulse and profound
conviction underlying them.
Unlike Rajput painting, but like Nepalese Buddhist art, Jaina painting
is a formal art of hieratic tradition. Hence at a later period (seventeenth
and eighteenth centuries) it preserves its character unchanged, only ex-
hibiting a more perfunctory treatment and a change of local color partly
under Mughal influence. In its uncanonical phases (illustrations to the
Sdlibhadra canto) when the artist is left to his own resources it approxi-
mates to the contemporary painting of Rajputana (Jaipur), and shows
Mughal influence in costume.
[37]
INDIAN COLLECTIONS
BIBLIOGRAPHY OF JAINISM
Barodia, U. D., History and literature of Jainism. Bombay, 1909.
Bhandarkar, Jaina Iconography. Indian Antiquary, Vol. XC.
Bloomfield, M., The life and stories of the Jaina Savior P&rgvan&tha. Baltimore, 1919.
The Sdlibhadra Canto, a story of conversion to Jain monkhood. J. A. O. S. XLIII,
4, 1923, pp. 167 ff.
Btihler, J. G., Jaina Sculptures from Mathura. Transactions of the Ninth international
Congress of Orientalists, Vol. I, pp. 219-221. London, 1893.
On the Indian sect of the Jainas. Translated (and) edited by J. Burgess. London,
1903.
Burgess, J., Papers on Satrunjaya and the Jains. Indian Antiquary, Vol. II, pp. 14-17;
134-140; 354-357; Vol. XIII, pp. 191-196; 276-282. Bombay, 1873-84.
Note on Jaina Mythology. Indian Antiquary, Vol. XXX, pp. 27-28. Bombay,
1901.
Digambara Jaina Iconography. Indian Antiquary, Vol. XXXII, pp. 459-464.
Bombay, 1903.
The Iconography of the Digambara Jainas. Verhandlungen des XIII internation-
alen Orientalisten-Kongresses, p. 74. Leiden, 1904.
Coomaraswamy, A. K., Notes on Jaina art. Journal of Indian Art, no. 127. London,
1914.
D&ji, Bhftu, The Inroads of the Scythians into India, and the Story of Kdlakdchdrya.
J. R. A. 8., Bombay Branch. Bombay, 1872.
Forbes, A. K.,RdsMW. 2 volumes. London, 1856.
Gurinot, A., Essai de bibliographic Jaina. Ann. du Muse Guimet, Bib. d'Etudes,
Vol. XXII. Paris, 1906.
Hiittemann, W., Miniaturen zum Jinacarita. Baessler Archiv., Bd. 11, Heft 11. 1913.
Jacobi, H., Das Ktilak&ctirya Kathdnakam (edition and translation). Zeit. der deutschen
morgenlandischen Gesellschaft, Vol. XXXIV. 1880.
Gaina Stitras. Sacred Books of the East, Vols. XXII, XLV.
The Kalpa S&tra of Bhadrabdhu (text). Abh. fUr die Kunde des Morgenlandes,
Vol. VII, 1. Leipzig, 1879.
Articles in the "Encyclopedia of Religion and Ethics."
Das Kdlakdcdrya-Kathdnakam. Zeit. der deutschen morgenlandischen Gesellschaft,
Vol. XXXIV, pp. 247-318. Leipzig, 1880.
[38]
JAINA PAINTINGS
Jacobi, H., Ueber die Entstehung der Qvetdmbara und Digambara Sekten. Zeit. der
deutschen morgenl&ndischen Gesellschaft, Vol. XXXVIII, pp. 1-42. Leipzig, 1884.
Jaina SAtras, translated from Prdkrit, 2 volumes. (Sacred Books of the East, Vols.
XXII et XLV.) Oxford, 1884-1895.
Eine jaina Dogmatik, Um&svdti's Tattvdrthddhigama Sfttra. Zeit. der deutsch.
morgenlandischen Gesellschaft, Vol. LX, pp. 287, 512 ff.
Jaini, J., Outlines of Jainism. Cambridge, Eng., 1916.
Jaini, Jagmander L&l, Some Notes on Digambara Jaina Iconography. Indian Antiquary,
Vol. XXXIII, pp. 330-332. Bombay, 1904.
Kielhorn, F., On a Jain Statue in the Homiman Museum. J. R. A. S., London, 1898.
Kirfel, W., Die Cosmographie der Inder. Bonn, 1920.
Kudalkar, J. S., The Jain manuscript-bhandars at Patan. Annals of the Bhandarkar
Institute, III, 1. Poona, 1921. (Mentions illustrated MSS. on p. 51.)
Lalubhfif, LfiJcand, Dhand Sdltbhadra. Ahmadabad, 1887.
Nahar, P. C. and Ghosh, K., An epitome of Jainism. Calcutta, 1917.
Smith, V. A., The Jain Stfipa and other Antiquities jof Mathurd. Archceological Survey of
India, New imperial Series, Vol. XX. Allahabad, 1901.
Stevenson, J., The Kalpa Sutra and Nava Tatva, two works illustrative of the Jain Re-
ligion and Philosophy. Translated from the Magadhi. London, 1848.
Stevenson, S., The heart of Jainism. Oxford, 1915.
Vinson, J., Lfyendes bouddhistes et djainas traduites du tamoul 2 volumes. Paris, 1900.
Winternitz, M., Nejamesha t Naigamesha, Nemeso. J. R. A. S., London, 1895.
A complete Bibliography up to 1905 will be found in the work by Gurinot cited above.
[39]
INDIAN COLLECTIONS
LIST OF MANUSCRIPTS AND PAINTINGS
MANUSCRIPTS
1
17.2276. Manuscript of the Kalpa Sutra and Kalakacarya Kath&nakam,
106 leaves, 6 lines to a page. Prakrt language, with fik&, Nandinagari
characters, with 17 miniatures. Thick paper. Contemporary covers
(patafl) of coarse red printed cotton. Fifteenth century, or possibly earlier.
Leaves .280 X .095m. Ross-Coomaraswamy Collection.
This is the MS. C. A. referred to on pi. 91 of Notes on Jaina Art (Cooma-
raswamy, Journal of Indian Art, Vol. 16, 1914), where 14 of the miniatures
are reproduced, including two in colour. See also Museum of Fine Arts,
Bulletin nb. 90, August, 1917, Illustrated Jaina MSS., figs. 1 arid 2.
The Kalpa Sutra, with 15 miniatures, occupies 98 leaves of the MS.;
the K&lakacdrya Kath&nakam, with 2 miniatures, 8 leaves. The text is
written in black ink, and is decorated with plain red borders, the central
string holes rubricated, but never used. The miniatures are painted with
yellow (in lieu of gold), crimson, black, green, two shades of blue, and
occasional touches of bronzy gold, against a scarlet background. Occa-
sionally a pearly white pigment is also used. The title of each picture is
written on the margin of the MS. or on the picture itself. A minute sketch
of the subject of each picture is also given in the margin (the painter's
memorandum of the subject to be represented in the allotted space).
A short benedictory colophon concludes the text of the Samacarl sec-
tion of the Kalpa Sfttra. The Kalakacarya text in Prakrt differs entirely
from that edited by Jacobi, loc. tit. Dr. L. D. Barnett tells me that this
version is unknown to him. It consists of only eighty-five verses beginning :
Devimdavimda namiyam sivanihisampatti parama sdsana yam, Nijjiya
paramaya samayam namda usiri vira sasaruiyam. 1,
continuing in v. 3,
Atthi Dharavdsapure naranaho vayarasimha ndmo tti Surasumdan
piy&se putto Kalayakumaroya. 3
and concluding
Suri ravi eha sunruim sesehih viyanacamda surihih ejjo savariassa kaha
samkaliyasuya samuddau. 85.
[40]
JAINA PAINTINGS
The final colophon in Sanskrit immediately following reads:
Samdpto'yam laghuparyu?aridkalpah paramkdthdyd digmdtram. Srih.
B(emi). Mamgalam maha&rih.
Subham bhavatu &ri samghasya. B(emi).
Uddra gambhlra krtajna punya manusya ratndvali, Rohanddrih: nityot-
savo vaisaMa nidhdnam Uke&a-vam6o vijayl jagatydm. 1. b.
Sri JndnaJdya gacche maunl Sri Sdrhti Suri samtdne, bhattdraka Sri
Siddhasena Suri patte Sri Dhane&vara Suri Slsya Sri Mahendra Suri parh-
$ita Gunacamdra nimittam Kalpa Pustika svayameva lilekhe.
Jattlsiha putra Samgha-vibumcd bharyd Ratnade BhramSde putri Lalatu
Madfr sdnyadhyena pustika kkhitd.
^This Laghuparyuganakalpah is completed. The rest is a mere outline
of the story. Prosperity! Utmost prosperity! May it be well with the
blessed community."
" A mount Rohana for the series of jewels of grateful and holy men, ever
happy, a treasury of charity, the Ukesa lintea'ge is a conqueror in the world."
"The Kalpa Sutra book itself was written on account of Mahendra
Suri and Pantjit Gunacandra, disciples of Dhanesvara Suri, on the pon-
tifical throne of the Lord Siddhasena Suri, in the lineage (succession) of
the Silent Sri Santi Suri of the Jnanakiya sect."
"The book was written on behalf of Lalatu and MadI (?) daughters
of Ratna and Bhrama, wives of Samgha son of Jaitisiha" (or "for the
use of Samgha, his wives and daughters.")
The Ukesa (Oswal) family is well known. Rohana is perhaps Ruhana in
Ceylon.
LIST OF MINIATURES
Folio 1. Mahavira enthroned: elaborate architectural setting, lion cog-
nizance on base of throne. Legend, Mahdvlra.
PLATE I.
Folio 2. The Jina as Guru, or spiritual teacher: the hand raised, holding
a rosary. Legend, Guru.
PLATE I.
Folio 6. Indra, seated on a throne, four-armed, holding elephant goad
(anku&a), noose (pd&a) and a golden fruit: umbrella of dominion in upper
[41]
INDIAN COLLECTIONS
left-hand corner, the elephant Airavata, vehicle of Indra, very small in
lower right-hand corner. Legend, Indra rupa, i Picture of Indra. 9
PLATE I.
Folio 9. Indra and Mahavira, the former standing with two hands
raised in respectful greeting (anjali hasta), with elephant goad and golden
fruit in other hands; the latter seated on a lion throne. Legend, Indra sya
Mahavira, 'Indra and Mahavira/
PLATE I.
Folio 15. Harinegamegl bringing the foetus to the Rani Trisala, Cloudy
sky. Legend, Rajfti, (or rajll) rupam Harinegamesl.
PLATE I.
Folio 84* The Fourteen Dreams of the Rani TriSala, viz., elephant, bull,
lion, Sri Devi, banners, garland, moon, sun, gold vase, lake, milky sea,
palace, jewel heap, and fire. Legend, 14 sauna.
PLATE I.
Folio 36. In two compartments, filling the whole page: to left, the
Rani Trisala reclining (she is understood to be present at the interpretation
of the dreams, but behind the pardah). Legend, Rdja rupam. To right,
Raja Siddhartha enthroned, a Brahmana seated before him, expounding
from a book. Legend, Svapna laksana pafhakah, 'Interpreters of the sig-
nificance of dreams.'
PLATE II.
Folio 41. Nativity of Mahavira: the Ram Trisala reclining on a couch,
with the infant. Legend, Sutika karmma, 'Lying-in.'
PLATE II.
Folio 49. Tonsure of Mahavira: he is seated in a rocky landscape be-
neath the Asoka tree, plucking out his hair, and is attended by Indra (two
hands holding the elephant goad and golden fruit, the two others receiv-
ing the discarded royal robes of Mahavira) ; Indra's elephant Airavana
(Airavata) below, high horizon and stormy sky above. Legend, Mahomra
loftca, ' Tonsure of Mahavira/
PLATE II.
JAINA PAINTINGS
Folio 53. Samavasarana of Mahavira; the Jina seated in the triple-
walled, four-gated enclosure. Legend, MahQmra samosarana.
PLATE II.
Folio 55. Mahavira as a Perfected Being, enthroned in the I$atprag-
bhara above the Siddha Sila; clouds above and below. Legend, Siddhi.
PLATE III.
Folio 59. Parsvanatha enthroned: the Jina is green, and above his head
appear the hoods of the seven-headed cobra by whom he was protected
when practising the kayotsarga austerity. Elaborate architectural setting;
cobra cognizance on pedestal of throne. Legend, ParSva pratima, 'Image
of Pareva.'
PLATE III.
Folio 66. Neminatha enthroned, in elaborate architectural setting.
The Jina is blue; conch cognizance on pedestal of throne. Legend, Nemi-
n&tha.
PLATE III.
Folio 72. Adinatha enthroned, in elaborate architectural setting; bull
cognizance on pedestal of throne. Legend, Sri Adinatha.
PLATE III.
(Folio 98. Conclusion of Kalpa Sutra.)
(Folio 99. Commencement of K&lakacdrya Kathanakam.)
Folio 100. Court of Gardabhilla; the king enthroned, a general and
soldiers in attendance before him. Legend, Gardabhilla.
Reverse, Kalakacarya instructing the Saka king: he holds a book in his
right hand while the index finger of the left is raised (tarjani hasta) in
exposition. Legend, Sakaraya.
PLATE III.
(Folio 106. Conclusion of the Kalakacarya Kathanakam, with colo-
phon.)
2
17.2277. Manuscript of the Kalpa Sutra and Kalakasuri Kathanakam,
78 leaves, 9 lines to a page, Prakj-t and Sanskrit language, no fika. Nan-
[43]
INDIAN COLLECTIONS
dinfigarl characters, with 34 miniatures. Thin paper. No covers. Dated
Samvat, 1554 - A.D. 1497.
Leaves .30 X .llm. Ross-Coomaraswamy Collection.
This is the MS. C. B. referred to on p. 91 of Notes on Jaina Art (Cooma-
raswamy, Journal of Indian Art, Vol. 16, 1914), where 21 of the miniatures
are reproduced including one in colour. See also Museum of Fine Arts,
Bulletin no. 90, August, 1917, Illustrated Jaina MSS., fig. 4.
The Kalpa Sutra, with 15 miniatures, occupies 72J leaves of the MS.;
the K&lakasuri Kath&nakam (in Sanskrit), with 6 miniatures, 5| leaves.
The text is written in black ink, with red borders and central circles not
perforated; the first page with a blue pattern border. The colours em-
ployed are crimson, black, blue, white, and scarlet on a gold-leaf ground;
the gold being left uncoloured to represent flesh, etc., but covered with
scarlet to form the background. The miniatures are not labelled: there
are marginal sketches, but much faded.
The Kalakacarya text in Sanskrit naturally differs from the Prakj-t
text edited by Jacobi, loc. cit., and from that of the previous MS. no. 1
(M. F. A. 17.2276) and that of MS. no. V (M. F. A. 17.227a). It has been
printed as a supplement to an edition of the Kalpa Sutra published by
Shah Naginbhai Ghelabhai Javheri as no. 18 of the Sheth Devchand
Lalbhai Jain Pustakoddhar Series, Bombay, 1914. It consists of sixty-five
verses, beginning:
Orh. Sri Vlra vakyanumatarh suparva tytam yatha paryu$ana ravyam
etat, Sri Kdlakacarya-varana sarhghe tatha caturdhyam STUU pam-
camltah 1., etc.; mentions Dharavasa in v. 2 and Surasundari in
v. 3 and concludes
Srimat KalakasurayaScirataram caritramatyujvalam sampdlpa pratipa-
dyacamta samaya bhakti pratijnarhmudd
Suddha dhyanam nidhana llnamanasah svargalayam ye gala, ste kalpana
pararhparam&krtadharayacchamtu sarhghe 9 naghe. 65.
The final colophon following this reads:
Colophon:
Iti Sri Kalakasuri Kathdnakarh. B(emif) . Sri Samvat 1554 var?e Bhadrava
6udi 8, somavasare. Davada vastavya Sri Srimalajnafiya Sre(?thi) S&ramga
Sre($thi) . . . bharyd ManUm suta Karana, bharya Malm laghu bhratr
[44]
JAINA PAINTINGS
Muld bhdryd Putali Sre($(hi) sadhdrana pramukha su&rdvakaih Sri . . .
(portion erased) m upakdritam Sn Kalpa pustakaih.
Acandrarkka vdcyamdnam drajlydt. B. Sri. B. 1.
'Thus the blessed Kalakasuri Kathanakam. It was presented by worthy
lay-disciples, namely the merchant SaraAga of the Sr&nala clan residing in
Davacja, his wife Manu, his son Karana's (the latter's) wife, mother and
younger brother Mula, his wife Putali, and other contributors of the
mercantile community, on Monday the 8th lunar day in the light fortnight
of Bhadrapada in the year Samvat 1554.'
LIST OF MINIATURES
Folio L Mahavlra enthroned; elaborate architectural setting; lion
cognizance on pedestal of throne. No legend.
PLATE IV.
Transliteration of the text shown in the figure, being the commence-
4
ment of the Kalpa Sutra:
Namo arahamtdnam namo siddhariam namo ayariydruim namo uvajjhd-
yaruim namo loe sawa sdhuriam.
Eso parhca namokkaro, savva-pava-pparidsano mamgalariam ca savvesim
padhamam havai mamgalam
Teruim kdlenarh tenarh samaenam samane bhagavam mahdnre pamca-
hatth' uttare hotthd; 2 l ; tamjahd: hatth' uttardhim cue caitta gabbham
vakkarhte, hatth 9 uttardhim gabbhdo gabbham sdharie hatth 9 uttardhim
jde, hatth 9 uttardhim mumfa bhavi
Folio 2. The Eight auspicious objects; with the Jina as Guru, the right
hand holding a rosary, and raised in exposition, and attended by two
worshippers. Legend, A^amamgal&ka.
PLATE IV.
Folio 5. Court of Indra; Indra enthroned, four-armed, holding spear
(Sakti), elephant goad (ankuSa), and fruit, the right hand raised with fore-
finger extended; with three ministers, each four-armed and with weapons.
Legend, Indra.
PLATE IV.
1 The figure 2 signifies the repetition of the preceding words.
[46]
INDIAN COLLECTIONS
Folio 6. Indra descended from his throne and kneeling with two hands
raised in adoration of Mahavlra whom he perceives on earth. Legend,
Indra namokfanam, Indra's salutation/
PLATE IV.
Folio 10. Harinegamegl removing the foetus from the Brahman!
Devananda, who reclines on a couch. Legend, Garbh&pahara Harine-
gametfi, 'Harinegame?! removing (the foetus) from the womb.'
PLATE V.
Folio 11. Harinegamegi bringing the foetus to the Rani Trteala, who
reclines on a couch. Legend, Haririegamesi garbha prak?epa, 'Harinega-
meI placing (the foetus) in the womb/
PLATE V.
Folio 12. The Rani Trisala reclining on a couch attended by a maid.
Legend, Rani Tri&ald.
PLATE V.
Folio IS. The Fourteen Dreams of the Ram Trisala. Legend, Cauda(sd)
saun&.
PLATE V.
Folio 19. The Rani Trisala relating her dreams to King Siddhartha.
Legend, Raja sa rdnl che, 'This is the king and queen/
PLATE V.
Folio 21. Toilet of King Siddhartha: the king seated, a wife or female
attendant dressing his hair. Legend, Majjana, ' Bath-house/
PLATE V.
Folio 22. King Siddhartha's court: the king enthroned, giving orders
to three of his officers. Legend, Raja sabha, 'The king's darbar/
PLATE VI.
Folio 23. Above, the Rani Trisala relating her dreams to King Siddhar-
tha; below, Brahmanas with manuscript rolls discussing the interpretation
of dreams. Legend, Sabba lakhana pathaga raja, 'The king's interpreters
of all prognostics/
PLATE VI.
[46]
JAINA PAINTINGS
Folio 24. Above, the RSni TriSala discussing her dreams with King
Siddhartha; below, two Brahmanas with manuscript rolls (horoscopes)
discussing the interpretation. Legend, Sawa lakkhana vicara, 'Discussion
of all the prognostics.'
PLATE VI.
Folio 28. Nativity of Mahavlra: the Rani Trisala with the child, re-
clining on a couch, attended by a maid with a fly-whisk. Legend, Janma,
'Birth.'
PLATE VI.
Folio 29. Festival of the anointment: Mahavlra seated on the lap
of a larger figure, two attendants holding vases, rocky landscape below.
Legend, Janmdbhiseka, 'Birth festival.'
PLATE VI.
Folio S2. Almsgiving on the first birthday: the king enthroned, before
him a table, and three ministers. Legend/ Samvat sandana.
PLATE VI.
Folio 83. Mahavira in the golden palanquin borne by the gods on the
occasion of his going forth to adopt the monastic life. Legend, Sivika,
'Palanquin.'
PLATE VII.
Folio 34- Tonsure of Mahavira: he is seated in a rocky landscape under
the Asoka tree, attended by Indra, who carries the elephant goad in one
hand, and receives the discarded royal robes with two others. Legend,
Dik?a 9 'Tonsure.'
PLATE VII.
Folio 37. Samavasarana of Mahavlra; the Jina seated in the triple-
walled, four-gated enclosure. Legend, Jndna samosarana, 'Preaching of
wisdom.'
PLATE VII.
Folio 38. Mahavira as a Perfected Being, seated in the Igatpragbhara
above the Siddha Sila; trees at each side, clouds above, rocky landscape
below. Legend, Mukti &7fi, 'Rock of release,' that is, Siddha 6ila.
PLATE VII.
[47]
INDIAN COLLECTIONS
Folio 41. Above, Pfirfvanatha enthroned, the hoods of a seven-hooded
cobra rising above his head; below, his nativity. Legend, Sri P&r&an&tha.
PLATE VII.
Above, P&nSvanStha as a Perfected Being, seated above the
Siddha sila; below, standing in water, practising the kayotsarga austerity.
PLATE VII.
Folio 47. Four scenes from the life of Adinatha ($?abha) : nativity,
tonsure, as a Siddha, and in samavasarana.
PLATE VIII.
Folio 48. Twenty seated Jinks, representing the llrthakaras between
R?abha and Neminatha, whose lives are not related at length in the Kalpa
Sutra.
PLATE VIII.
Folio 50. Four scenes from the life of Neminatha: nativity, tonsure, as
a Siddha, and in samavasarana.
PLATE VIII.
Folio 64- The Eleven apostles of Mahavlra; with an orhkara ideograph.
Legend, Ganadhara 11.
PLATE VIII.
Folio 61 . The Jina enthroned in a mandir, with a lotus below and two
peacocks above.
PLATE VIII.
Folio 72. Obverse: the Jina enthroned in a mandir, with high frikhara,
worshipped by two kings, four monks, and two women. Conclusion of
Kalpa Sutra on this page: the text (end of the Samacari section) reads:
hunam samanlnam bahunam s&vaganam; 2; bahunam devanam bahunam
devlnam majjha-gae
c'evam aikkhai, evarh bhdsai, evarh pannavei, evarh paruvei, pajjosavaria-
kappam, n&ma ajjhayanarhj sa-attham, sa-heuyam, sa-karanam, $a-
suttam,
sa-attham, sa-ubhayarh, sa-vagaranam, bhujjo; 2; uvadamsei
tti bemi. Pajjosavana-kappo sammatto. Attham ajjhayanam sammattam
b. gramthagram 1716, b. M. n. fin.
[48]
JAINA PAINTINGS
Reverse: above, Conversion of Kfilakakumara, the prince receiving
instruction from a Jain monk; below, Kalaka returning home (?)
PLATE IX.
Folio 73. Above, Kalakakumara returning home (?) ; below, in a golden
palanquin borne by the gods.
PLATE IX.
Folio 74. Above, Kalakacarya instructs the Saka king; below, Kfila-
kacarya at the kiln, changing the potter's clay to gold, with one of the
Shdhis on horseback.
PLATE IX.
Folio 75. The siege of Ujjayini; slaying of the magic ass.
PLATE X.
Folio 76. Above, Kalakacarya seated, addressing Gardabhilla, who
is a manacled prisoner in charge of a soldier; (below) Kalakacarya at the
door of a monastery, two monks sleeping within (perhaps representing
Kalakacarya's visit to Sagaracandra).
PLATE X.
Folio 78. Obverse: Kalakacarya seated in converse with Indra in the
form of a Brahmana. Reverse: End of Kalakasiiri Kathanakam, and
colophon with date (quoted above).
PLATE X.
17.2278. Manuscript of the Kalpa Sutra (Jinacarita and Theravali
Sutrarh only), 107 leaves of 7 lines to a page, Prakj-t language, Nandina-
gari characters, with 27 miniatures. No covers. Probably 17th century.
Leaves .255 X .105m. Ross-Coomaraswamy Collection.
This is the MS. C. C. referred to on p. 91 of Notes on Jaina Art (Cooma-
raswamy, Journal of Indian Art, Vol. 16, 1914) where seven of the mini-
atures are reproduced. The colouring as in M. F. A. 17.2277, except that
the background is bright blue in place of scarlet. Most of the pictures have
legends, often repeated with slight variations in a later hand. No marginal
sketches.
[49]
INDIAN COLLECTIONS
LIST or MINIATURES
Folio 4. Fourteen Dreams of the Brahman! DevSnandS: the lady re-
clining below, the dreams represented above. No legend.
PLATE XL
Folio 8. Court of Indra, the god, four-armed, holding elephant goad,
noose, and fruit, enthroned beneath umbrella of dominion, and entertained
by a dancing girl and two musicians/ Legend, Indra sabha, 'Darbar of
Indra. 1
PLATE XL
Folio 10. Indra kneeling with two hands raised in respectful adoration
of Mahavlra. Legend, Indra namoksariam bhanai, 'Indra offers salutation/
PLATE XL
Folio 17. Above, Harinegamegi taking away the foetus from the
Brahmani Devananda; below, bringing it to the Ram Trisala. Legend,
Garbhapahara garbha samghararia, 'Removing from the womb and bringing
to the womb.'
PLATE XL
Folio 21. The Fourteen Dreams of the Rani TriSala: the queen re-
clining, the dreams represented above. Legend, TriSala svapna 14.
PLATE XL
Folio 35. Above, King Siddhartha at wrestling exercise; below, his
toilet. Legend, Mallajuddha sajai, 'Wrestling practice. 7
PLATE XL
Folio 39. Interpreters of dreams: four bearded Brahmanas, one with a
horoscope, discussing the dreams. Legend, R&ja svapna pathaka, 'The
king's interpreters of dreams.'
PLATE XII.
Folio 46. Above, the Ram TrisalS with a confidante, with gestures of
grief expressing her fear that the unborn child may not be living, as it
makes no movement; below, the Ram Trisala expressing her joy at feeling
the child leap. Legend, Soka har$a, 'Sorrow and joy/
PLATE XII.
[50]
JAINA PAINTINGS
Folio 48. Nativity of Mahavlra; the Rani Trifiala reclining with the
infant, attended by a maid with a fly-whisk. Legend; Vlra janma mejha
sndtra.
PLATE XII.
Folio 56. Mahavlra bestowing alms previous to adopting the monastic
life. Legend, Vlra dana.
PLATE XII.
Folio 60. Tonsure of Mahavlra: Mahavlra seated beneath the ASoka
tree, plucking out his hair, attended by Indra. Legend, Dlka (Tonsure).
Reverse: Mahfivlra in kayotsarga posture " suffering with equanimity all
calamities arising from divine powers, men or animals" the latter
represented by a cobra, scorpion, lion, and dog. Legend, Vlra upasargra,
i Austerity of Mahavira/
PLATE XII.
Folio 64. Samavasarana of Mahavira': the Jina seated in the triple-
walled four-gated enclosure. Legend, Jnana, 'Attainment of wisdom.'
PLATE XIIL
Folio 66. Mahavira as a Perfected Being; enthroned as a Siddha, be-
tween two trees above the Siddha &ila. Legend, Vlramukti, 'Release of
Mahavlra.'
PLATE XIIL
Folio 72. Par&vanatha enthroned: elaborate architectural setting;
cobra cognizance on pedestal of throne. Legend, ParSva pratima, ' Image
of Parsva.'
PLATE XIIL
Folio 73. Above, Kama^ha seated between four fires and understood
also to be enduring the heat of the sun, making the penance known
as that of the "Five Fires." Below, Parsva rescuing the serpent king
Dharana. Legend, Kamatha pancagnl, 'Kamatha's practice of the Five
Fires.'
PLATE XIIL
Folio 75. Parevanatha standing in a lake, practising the k&yotsarga
penance, supported by a yak$a and protected by Dharana with seven ex-
[51]
INDIAN COLLECTIONS
panded hoods, on the occasion of Meghakumara's assault. Legend;
P&r6va upasargra.
PLATE XIII.
Folio 78. Neminatha enthroned, in elaborate architectural setting;
unrecognizable cognizance on pedestal of throne. Legend, Nemi pratima.
PLATE XIII.
Folio 79. Above, a bearded man kneeling before the conch of Kr?na;
below, Neminatha overcoming the gods, represented by one four-armed
deity. Legend, Samkha puriu hariha $holiu, and in later hand Sarhkha
puriu (habha f) hathe hi delemo neminatha-jl.
PLATE XIV.
Folio 80. Above, a bearded man on horseback at a palace or city gate,
a woman within. Below, a man with charioteer driving in an ekka through
a deer park. Legend, Nemi pasuvad; in later hand, Nemlnatha-jijani (or,
jand) kare pasuvafa aya che.
The two pictures seem to suggest the story of king Samtanu related in
the Satrufijaya M&hdtmayam (Indian Antiquary XXX, 1901, pp. 294-
296). On this supposition, the upper picture would represent Samtanu 's
meeting with Gaftga in the high temple of gems; the lower, representing
the deer park with Gaftga or (GaAgeya) driving in an ekka. But the legend
plainly mentions Neminatha, and the word pasuv&d can only mean 'cattle-
pen/ The pictures are therefore probably connected with Nemi's mar-
riage, the lady in the upper part being perhaps Rajlmati, while the lower
half represents Nemi on his way to JunagacjLh, where he sees the animals
ready to be slaughtered for the wedding feast. Though the animals are
not cattle, but deer, they seem to be in a kind of enclosure.
PLATE XIV.
Folio 83. Ten Tirthakaras. Legend, Tlrthakara 10.
PLATE XIV.
Folio 84. Ten Tirthakaras. Legend, (Tlrtha)kara 10.
PLATE XIV.
Folio 88. Adinatha (Rabha) enthroned, in elaborate architectural
setting, conch cognizance (erroneously) on pedestal of throne. Legend,
Adin&tha pralimd.
PLATE XIV.
JAINA PAINTINGS
Folio 89. Subject not identified. Rider on an elephant, surmounted by
a large umbrella of dominion, accompanied by one attendant riding behind.
Legend, Hasfi murti k&kumbha.
PLATE XIV.
Folio 95. Eleven Ganadharas, or apostles, of Mahavira or Neminatha,
with an Oqikara ideograph. Legend, Ganadhara II.
PLATE XV.
Folio 98. Subject not identified (scenes from the life of Arya Vajra?).
A monk seated with a book, before a table, facing a nun who is addressing
him, a child in a circle between them; below, a nun rocking a child in a
cradle. Legend, Vaira Svami palanum; also, in later hand, Vaira Svami
cehura Svami palakhi, 'The Swami's cradle.' Vaira Svami is probably
the Arya Vajra of the Theravali 4, or 13.
PLATE XV.
Folio 100. Subject not identified. A man, and a woman dancing,
rocky landscape; the former aiming an arrow at a parrot on a tree. Erotic
motif? Legend. . . ntfya ambaluci; in later hand, nrtya abalud, 'Viewing
the dance/
PLATE XV.
The MS. ends with the adoration verses at the close of the "List of
Sthaviras"(only nine of the verses being given, the last concluding
kasavagutte panivayami). The original colophon, Iti Theravali Sutram> has
been defaced.
4
22.364. Manuscript of the Kalpa Sutra, 147 folios, less nos. 16, 29, and
43 (no. 4 imperfect); seven lines to a page, with 39 miniatures. The text
is written in black ink with narrow red borders at the sides, the central
string holes rubricated but not perforated. The miniatures are painted in
gold (a greenish tone is obtained in certain parts by the use of pigment
over the gold), black, blue, white, and scarlet. A majority of the mini-
atures are labelled, and some have faint marginal sketches. Cotton-
covered boards (pathari). (Folio 4, picture broken away.) Dated =
1494 A.D.
[53]
INDIAN COLLECTIONS
Cover dimensions ,278X,127m., leaves .226X.109m.
Ross Collection.
Folio 1. Mahavlra enthroned; with six attendants; the throne sup-
ported by elephants. Lion cognizance.
PLATE XV.
Folio 2. Mahavlra, enthroned, as Guru, teaching, worshipped by two
disciples; above and below, the Eight Auspicious Symbols.
PLATE XV.
Folio 5. The Fourteen Dreams of the BrahmanI Devananda (twelve
only shown, the sun and moon being omitted). Legend, 14.
PLATE XV.
Folio 8. Indra enthroned, with two attendants. The deity is four-
armed: 1. r. h. suci kasta, u. r. h. with trident, u. 1. h. with elephant goad,
1. 1. h. with fruit. Legend, Indra-sabha, 'Darbar of Indra/
PLATE XVI.
Folio 12. Indra kneeling, in front of his throne. U. r. h. and 1. 1. h.
as before, the two other hands raised in a gesture of reverence (towards
Mahavlra). Legend, Namoksuna kaha, 'He offers salutation.'
PLATE XVI.
Folio 18. Indra enthroned, as at first; Harinegamesi receiving orders,
and departing on his errand. Legend, Indra HarinegameM.
PLATE XVI.
Folio 20. Obverse: Harinegamesi having removed the foetus from the
womb of the Brahman! Devananda, departs. Legend, Devananda garbho-
pahar. Reverse: Harinegamesi brings the foetus to the KSatriyam Trisala.
Legend, illegible.
PLATE XVI.
Folio 23. Obverse: Lying-in of Trisala; the queen reclining, a maid
with a cauri. Legend, Triyadevl. Reverse: Fourteen Dreams of TriSala
(twelve only, as before; but the sun and moon are seen in the 'Lying-in').
PLATES XVI AND XVII.
Folio 34. Seated four-armed goddess (Padmavati?), upper hands with
lotus flowers, 1. r. h. with rosary, 1. 1. h. with fruit. Legend, caudasa jha.
. . pna.
PLATE XVII.
[54]
JAINA PAINTINGS
Folio 40. Two groups of contesting men: above, boxers with large
gloves, below, wrestlers. Probably the king (Siddhartha) at daily exercise
in his gymnasium. Legend, . . . juddha.
PLATE XVII.
Folio 44- The king's toilet: he looks at himself in a mirror, while a
woman dresses his long hair. Legend, mdjanu.
PLATE XVII.
Folio 46. Four brahmanas, with long white beards, in two pairs, dis-
cussing the dreams. Legend, svapna-pdthaka.
PLATE XVIL
Folio 56. Birth of Mahavira: Trisala reclining, the child by her side,
a maid in attendance. Legend, illegible.
PLATE XVII.
Folio 57. The Anointment Festival (abhi$ekha) : Mahavira seated on
the lap of a deity, with two attendants holding water-jars. Affronted
bulls above. Legend, Raja-sabha.
PLATE XVIII.
Folio 64- Giving of alms. Legend, Seva . . ard ddna. The lower of
the two Brahmana mendicants carries a begging bowl (kamandalu).
PLATE XVIII.
Folio 66. Like the miniature on f. 1. Legend, Vira pratimd.
PLATE XVIII.
Folio 68. Tonsure of Mahavira: Indra (represented with only two
hands) receiving the royal robes. Legend, Dlk$d letd, 'He receives ordi-
nation.'
PLATE XVIII.
Folio 71. Samavasarana of Mahavira: The usual triple-walled en-
closure with four gates; a well and animals in each corner. Legend,
illegible.
PLATE XVIII.
Folio 73. Adinatha as Siddha, enthroned above the heavens in Igat-
pragbhara; the inverted crescent being the Siddha Sild or rock of the
Perfected. Bull cognizance on throne. Trees at each side and mountains
below. Legend, mukti.
PLATE XVIII.
[55]
INDIAN COLLECTIONS
Folio 80. MahSvIra as Siddha: similar in all respects to the last, but
with lion cognizance on throne.
PLATE XIX.
Folio 82. Birth of Paisvanatha. Legend, P&r&vanatha.
PLATE XIX.
Folio 83. Above, left, Katha seated between four fires, the sun indi-
cated above, practising the 'Five fire penance'; right, Parsva rescuing the
serpent Dharana. Below, subject not identified: a lady (?) on foot fol-
lowed by a rider (ParSva?) with attendant on a caparisoned elephant,
Legend, Vdmd devl (the name of Parsva's mother). The picture possibly
refers to Parsva's marriage (' Parsva, arrayed brilliantly, riding a white
elephant, arrived at the marriage pavilion/ Parevanatha Caritra, Sarga
VI, v. 34).
PLATE XIX.
Folio 88. A Jina seated above the Siddha sila in the Igatpragbhara.
Apparently a conch cognizance, indicating Neminatha, and if so out of
order as Siddha. Legend, Va . . . na.
PLATE XIX.
Folio 89. Parevanatha enthroned, with six attendants; the throne
supported by elephants. Like no. 1, but the Jina overshadowed by the
seven-headed naga Dharanendra, and with cobra cognizance on throne.
Legend, P&r&vanatha.
PLATE XIX.
Folio 90. Tonsure of Neminatha. Indra receiving the royal robes.
Legend, Neminatha c&ksa.
PLATE XIX.
Folio 95. The Twenty Tlrthakaras between I^abha and Neminatha.
PLATE XX.
Folio 99. Adinatha (?) enthroned, with six attendants. Like nos. 1
and 89, but no cognizance.
PLATE XX.
Folio 100. Birth of Adinatha.
PLATE XX.
[56]
JAINA PAINTINGS
Folio 107. Two miniatures on obverse of leaf: to left, Mahavlra with
six of his Ganadjtaras (disciples); to right, the remaining six (making
twelve in place of eleven). Legend, 11 garia.
PLATE XX.
Folio 123. Above, a monk seated reading from a manuscript, instruct-
ing two monks standing before him; below, two monks standing before a
lion. (Story of Balamitta?) Legend, illegible.
PLATE XX.
Folio 124. A monk seated reading from a manuscript, instructing a
layman (prince?), and a monik with a manuscript squatting before him.
PLATE XXI.
Folio 142. Like 124. Legend, Guru.
PLATE XXI.
Folio 143. Like 124. Legend, illegible.
PLATE XXI.
Folio 144- A monk seated reading from a manuscript, instructing two
monks, one standing, one kneeling before him.
PLATE XXL
Folio 147. (last). Damaged miniature. Above, two monks with manu-
scripts; below, three lay worshippers and two (or three) monks.
The last five pictures seem to represent Kalakacarya's visit to Sa-
garacandra.
PLATE XXI.
Colophons: on ff. 146 and 147 obverse.
Iti Sri Paryusand Sri Kalpa Sutrarh samaptam . . . Sri Pattana madhye
Sri Kalpa-pustika likhitam samvat 1551 var?e af&tfha m&se . . . and on f . 147
reverse, by another hand, imperfectly preserved, Samvat 1674 var$e maha
&udi 2 . . . Pattane . . . T&tahafia gotre, Usavala jn&tiya, Usavala gacche.
. . . Sri Kakka Suri. Tatu 6i$ya. . . Sri Tejacamdraya, Kalpa pustakam
pradattam. . . . According to the first colophon the manuscript was
written at Pattan (not to be confused with Pa^an, the well-known Jain
centre of learning), in Gujarat, in A.D. 1494. Pattan is perhaps the modern
Patti, in the Lahore district of the Pafijab. Most of the Jaina MSS. in
[57]
INDIAN COLLECTIONS
the Museum collections were originally obtained from a Jaina priest of
Patti; this applies to all except items 5, 7, 13, 14.
5
19.142. Two leaves of a MS. of the Kalpa Sutra and Kdlak&c&rya Kathd,
nine lines to a page. Prakft language, Nandinagari characters, a mini-
ature on each leaf. Gold figures on red ground. Thin paper. MS. dated
Samvat 1519 - A.D. 1461.
Leaves .257 X .112 m. Ross Collection.
The MS. is described with an illustration in the Catalogue of Sculpture,
Painting and Drawings of Ancient India, Kevorkian galleries, New York,
1918.
Six leaves of the same MS. including the last, with dated colophon, are
in the Metropolitan Museum of Art, New York, and one in the Fogg Art
Museum, Cambridge.
LIST or MINIATURES
Folio 51. Above, Neminatha bestowing alms on a Brahmana; below,
the tonsure of Neminatha: the Jina is seated (no tree), and attended by
Indra. Legend, Nemi fhakarana daksa, 'Lord Nemi's initiation/
PLATE XXXVI.
Folio 59. Tonsure of Adinatha: the Jina is seated beneath a tree, and
attended by Indra. Legend, A(dinatha) cfiksd thakar, 'Lord Adinatha's
initiation.'
PLATE XXXVI.
6
17.2279. Manuscript of the Kalikdcdrya Kathd; nine leaves, nine lines
to a page, Prakft language, Nandinagari characters, with six miniatures.
No covers. Early fifteenth century.
Leaves .26 X .11 m. Ross-Coomaraswamy Collection.
This is the MS. C. D. referred to on p. 91 of Notes on Jaina Art (Cooma-
raswamy, Journal of Indian Art, Vol. 16, 1914) where three of the mini-
atures are reproduced, including one in colour. The colouring is similar
to II, M. F. A. 17. 2277. The pictures are labelled, but there are no mar-
ginal sketches.
The text consists of one hundred and twenty verses, beginning:
[58]
JAINA PAINTINGS
Hayapatfinlyapayavo titthannaik&rau ktil&nilao
(Jd)yail jay&namdayaro jugapavaro k&lag&rio 1.
At v. 5 we get the first few lines of Jacobi's text at the beginning of the
verse section
Yatha caturbhih kanakarh parik$yate, etc,
but the following portions do not correspond. The last verse reads:
lya bohiyabahuyanara, divamgayagumgurta jugappavard,
Sirikcttagasurivard, havamtu bhawana bhaddakar& 120
followed by the colophon, Iti Sri Kdlikacarya Katha sampurn&h.
This is the Prakpt version noticed by Peterson, P., Second report of
operations in search of Sanskrit MSS. in the Bombay Circle. (Appendix 1,
Cat. of MSS. in the Temple of Santinath, Cambay, p. 225) Bombay, 1884.
LIST OP MINIATURES
Folio 1. Conversion pf Kalakakumara; below, the groom returning to
the palace with the riderless horse (?). Legend, Kalikakumarayai.
PLATE XXII.
Folio 2. Kalakacarya as Guru instructing the Saka king. Legend,
S&ke raja guru.
PLATE XXII.
Folio 5. Above, Kalakacarya at the kiln, changing the potter's clay to
gold, accompanied by the Shahi; below, the Shdhi with a soldier bearing
the gold. Legend, Rafavahai.
PLATE XXII.
Folio 6. A Jain monk, with hands raised in respectful greeting, ad-
dressing a lion; three other monks below. Legend, Balamitta bhanai.
PLATE XXII.
Folio 8. Siege of UjjayinI; slaying of the magic ass. Legend, Gadda-
bhie . . . vidya jae. The archer on horseback is evidently Kalakacarya
himself.
PLATE XXII.
Folio 9. Above, Kalakacarya in conversation with Indra disguised as
a Brahmana; below, with Indra in his own form, his hands raised in re-
spectful adoration. Legend, I(ndra . . . ).
PLATE XXII.
[59]
INDIAN COLLECTIONS
7
21.1673. Manuscript of the Sdlibhadra Caritra: 39 leaves (lacking f. 2),
12 lines to a page, rubricated, with narrow red borders but no indication
of string holes with 45 miniatures. In western Hindi.
.252 X .112 m. Marianne Brimmer Fund: from the Nahar collection.
The text commences:
Om. Duhd: S&sana n&yaka samariyai, bhrddhamdna jinacamda
Aliy a bighana dure hare ape paramdnarhda 1
Sahuko jinavara sdrikhd pani tlratha dhanl visesa
Parirfi jete gffi, jal, lokanlti sampesi 2
Ddna sila tapa bh&vana, Siva pura mdraga cyari
Sarisd chai som pani iha, dana tano adhikara 3
Sdlabhadra sukha sampada, pane dana pas&i
T&su carita vakh&nata, pataka dura puldi 4
Tasu prasamga jethal dhanna-nl puni bdta
S&vadhana thai sa bhalo mati karayo vy&ghata 5
Tola. Caupaml:
Magadha desa frenika bhupala, pita ny&ya-kare causala
Bhava bheda sudho sarada hai, jinavara ana akhamdita
vahal. 6
Nita navald karaft khelaria mdtl nltl r&nl
and concludes;
Dhand bhan tola:
Iriai avasara Srenaka paracavai, Bhadrd phlra ghari Aval, jl:
Pa$ila bhlna sakl prastaval, tina g&fc prachitavai, jl. 1.
Salibhadra Dhanna ri?a-raya, tOsu namunlta paya, jl:
Je tapa japa apaka sikdyd, sudhd sddhu kah&ya, jl. 2. sa.
Ndnd mold dukhana t&li, kalimala pamka pa$&K, jl:
Caramasa mal jinavara sdmbhaU sudho ariasana paM, jl. 3.
Barabara sasamjama aradh&, &pa savaratha sadha, jl:
Sara gati karmanikd dtavddhl, savartha siddha laddhl, jl. 4.
Sura sarai sura bhavana vicGlai, pani navi n&tha nihalai, jl:
Pot&nau bolyau sainbharai 9 harafi tdhu vaiti naika lai, jl. 5.
Sav&ratha siddha hutd cavana, munlvara nara bhava lahisai, jl:
[60]
JAINA PAINTINGS
Mahtibft dehai vrata ardasi, avicala viva sukha varasi, ft. 6.
Prata sidh&nl tartf, phala j&nl, bh&va adhaka mana-dril jl:
Afta laka d&na samdpo pr&nl, Sjita varanl b&rpl, jl. 7.
Sddha canto kahi vdmana sarasa, tenaie bhaslu hara$al, jl:
Solatia sai athahattari barasai, asoja vadi chatthei divasai, jl. 8.
Sri Jina Siha-suri s&mati saral, bhaviyana nal upagarai, jl:
Sri Jina Raja vacana arwsara, carita kahyau suvicdra jl. 9.
Ina pari sddhu tana guna gavai, je bhaviyana mana bhdvai, jl
Aliy a vighana savi duri palavai, mana bacata phala pavai, jl 10
Eha sabamdha bhavika bharta sai, eka mana sambhali sai, ji
Dukha doha gate duri iga masai, mana bamchata phala lahisai,
jl 11. sff.
According to the verses of the text numbered 8 and 9 it would appear that
this Hind! version was made by Sri Jina Sihasuri following the version of
Sri Jina Raja, in samvat 1678, equivalent to A.D. 1621.
Colophon : Iti sri Salibhadra tl copal sampurriam. A rjyam-jl Sri Sri
Bala-jl MahGrsatyam-jl Sri Sri Lacham-jl kl tat slfyanl gamga
Kkhatam Klsnga$h mathe samat 18 sa 50 m& tlva praba vade sat
budavara
subha bhavatam kllanam astu. Iti Sri sapurnam.
According to this colophon, the MS. was written by the pupils of the Rev-
erend Bala-ji and Lachan-jl at Kigngayh monastery in Samvat 1850
(A.D. 1793).
This MS. is perhaps a copy of the same text as that named by H. H.
Wilson in Asiatic Researches, Vol. XVII, p. 245 (without particulars): I
am indebted to Dr. F. W. Thomas for this reference. The Western Hindi
in which the text is written is often hard to understand. The script is a
form of Nagari closely related to the Nandinagari of the Prakrt texts, with
many archaic forms and spellings. is frequently used for kh. The forms
of the proper names naturally differ from those of the Sanskrit text quoted
above in the summary of the story, but in some cases two forms are used
side by side, e. g. Srenaka and Senaka,
[61]
INDIAN COLLECTIONS
LIST OP MINIATURES
Folio 1 . Seated Jina. Legend, Srt Mahawra-fi; but the bull cognizance
implies Idinatha (Rgabha).
PLATE XXIII.
Folio 3. Six niches with figures, representing a city (Rajagrha) with
king, officers, trader, common people and cows. Legend, S&huk&r nagari
ma bathd chai, 'Leading men are seated .in the town/
PLATE XXIII.
Folio 4> obverse: Dhanna going with her son Samgama. Legend,
Sarhgamyo.
Reverse, left: Samgama grazing cows. Legend, Bachatfa car&va chai,
'He grazes cows.'
Right: Dhanna seated, the child on her lap, four women standing.
Legend, Samgamyo khlra maga chai, 'He asks for milk-rice/
PLATE XXIII.
Folio 5, obverse: Dhanna seated before a wicker table fanning a tray of
food, a brass churn beyond. Legend, Khlra thara cai bhdvand bhava chai,
'She cools the rice-milk/
PLATE XXIII.
Reverse: Same scene, but Samgama standing giving the rice-milk to
the Jaina ascetic standing facing him. Legend, Samgamyo samdhana
khlra var&va chai, 'He bestows the rice-milk with devotion/
PLATE XXIV.
Folio 6. Bhadramata reclining, regarding a miniature rice field in the
air above her. Legend, Bhadramata supanu salaro dekha chai, 'Bhadra-
mata sees a rice field in a dream.'
PLATE XXIV.
Folio 7. Obverse, left: Bhadramata reclining as before, the child on
her lap, a maidservant with a fan. Legend, S&libhadra janamyo, 'Na-
tivity of Salibhadra.'
Right: The same maid offering a vase of flowers to a man on a throne.
Legend, Goblrhdra sefha nai dasl vadh&i deva chai, 'The servant maid
brings the good news to Se^h Goblnd.'
PLATE XXIV.
[63]
JAINA PAINTINGS
Folio 8. Obverse: BhadrSmfitS rocking Sfilibhadra in a cradle. Legend;
SOlibhadra palanajhula chai, 'She rocks SSlibhadra in a cradle/
Reverse: Marriage of Salibhadra, bride and bridegroom seated in
centre, a Brahman and sacred fire to left, group of 32 women to right.
Legend, Sdlabhadrajl parana chai, 'Salibhadra is married.'
PLATE XXIV.
Folio 9. Salibhadra seated with his wife in a pavilion, a deity (Sali-
bhadra^ father) bringing golden caskets. Legend, Devata S&libhadra ka
tens pei lydyo chai, 'The god brings Salibhadra 33 caskets/
PLATE XXIV.
Folio 10. Bhadramata seated: traders with shawls. Legend, Bop&ri
kambal lay a bhadra dekha chai, 'Bhadramata inspects the blankets brought
by the merchants/
PLATE XXV.
4
Folio 11. Obverse: Above, Salibhadra's treasury, with two men seated,
and caskets; below, two men with a money bag. Legend, Gothari koth&r&
khula chai, 'The treasurer opens the treasury' i.e. (to pay for the
blankets).
Reverse: King Senaka seated conversing with the merchants. Legend,
Senaka raja vyopdrydn bulaya kamal maga chai, 'King Senaka asks the
merchants for the blankets. 1
PLATE XXV.
Folio 12. Upper left: Senaka's messenger before Bhadramata. Legend,
Srenaka-jl chatfidar salabhadra ka melyo, 'Senaka's messenger meets Sali-
bhadra/
Lower left: Abha Kumara and Bhadramata. Legend, Abha Kumar a
Bhadra kanai ayo, 'Abha Kumara (the king's minister) comes to Bha-
dramata/
PLATE XXV.
Folio IS. Abha Kumara and Bhadramata before King Senaka. Legend,
Bhadra Abha Kumara ka s&tha Senaka-jl kana ai, 'Bhadra comes to King
Senaka with Abha Kumara/
PLATE XXV.
[63]
INDIAN COLLECTIONS
Folio 14. King Senaka upon an elephant, proceeding with attendants,
in landscape. Legend, Sreruika rSja S&labhadra ghara &va chai, 'King
Senaka goes to Salibhadra's house.'
PLATE XXV.
Folio 15. Obverse: King Senaka sitting in the upper story of Salab-
hadra's house. Legend, Sreyaka raj& cothl bhomak& ttrajyo chai, ' Senaka
raja adorns the fourth floor. 1
*
Reverse: Bhadramata summons Salibhadra, who is seated in a room
with his wives. Legend, Bhadra Salabhadra nai buldvana nai aya chai,
'Bhadramata comes and summons Salibhadra.'
PLATE XXVI.
Folio 18. Salibhadra presents his son to the king (?). No legend.
PLATE XXVI.
Folio 19. Upper left: the king seated in the bath, two attendants
massaging his arms.
Lower right: Bhadramata finds the signet ring.
PLATE XXVI.
Folio 20. Salibhadra gives alms (?).
PLATE XXVII.
Folio 21. Goblnd conversing with his wife.
PLATE XXVII.
Folio 22. Goblnd conversing with two of his wives.
PLATE XXVII.
Folio 23. Salibhadra hearing the doctrine from two Jaina ascetics
seated beneath a tree. Legend, Salabhadra sadha kan bakhdna suna chai,
'Salibhadra listens to the exposition of the sadhus.'
PLATE XXVII.
Folio 24* Salibhadra taking leave of his mother, Bhadramata. No
legend.
PLATE XXVII.
Folio 26. Obverse: Salibhadra takes leave of his wives. Legend,
S&libhadra tin asatn chori, ' Salibhadra leaves his three wives/
Reverse: A lady (one of Salibhadra's wives) with clasped hands, in night
[64]
JAINA PAINTINGS
scene with crescent moon and four animals, like jackals. Legend, Coci
hlranl sum ard&sa kara chai, 'Coci complains to the wild deer/
PLATE XXVIIL
Folio 27. Subhadra massaging Dhana-jL Legend, Dhana-fi t& mora
Subhadra kara chai.
PLATE XXVIIL
Folio 88. Dhana-jl departing: one of his three wives seeks to detain
him. Legend, Dhand-ji kl stn palo pakaryau chai, 'Dhana's wife takes
hold of his garment/
PLATE XXVIIL
Folio 29. Dhana-jl standing before Salibhadra seated with his mother.
Legend, Dhanu-ji Salibhadra nai tedaba &yo chai, ' Dhana comes under the
influence of Salibhadra/
PLATE XXVIIL
Folio 30. Salibhadra asks his mother's permission (to depart). Legend,
Salibhadra mala pasa anumata maga chai, 'Salibhadra asks his mother's
leave.'
PLATE XXVIIL
Folio 31 . Salibhadra's wife tries in vain to prevent his departure.
Legend, Salibhadra Id astri palo jhalyo cha(i), 'Salibhadra's wife releases
his garment.'
PLATE XXVIIL
Folio 32. Salibhadra sets out, borne in a palanquin, to receive initiation.
Legend, Sdlibhadra-ji dUkkhya levanana jaya chai, 'Salibhadra goes forth
to take (faksaS
PLATE XXIX.
Folio S3. Salibhadra and Dhana receive initiation from a saint (Maha-
vira) enthroned between two trees. Legend, Salibhadra-ji Dhana-jl
dikkhya lini, 'Salibhadra and Dhana receive dtJfc^a.'
PLATE XXIX.
Folio 34. Jain ascetics (Salibhadra and Dhana) begging. Note the
respirators (mohomatl), to avoid killing insects by breathing (shown also
on folio 23), and the brush (ugha), to dust away insects from the path.
[65]
INDIAN COLLECTIONS
Legend, S&libhadra-jl baharnana fit/a polyau naj& bade, 'Salibhadra seeks
alms at the gate/
PLATE XXIX.
Folio 35. The same ascetics departing, meet a woman, Mathitaharika
(present incarnation of Samgama's mother), who gives alms. No legend.
PLATE XXIX.
Folio 36. Bhadramata and Dhang/s mother before Mahavlra, en-
throned. Legend, Mdtd pucka chai, 'The mothers ask.'
PLATE XXX.
Folio 37. Salibhadra and Dhana die by voluntary starvation. Group
of women and King Senaka respectfully watching. Legend, Salibhadra-
ji Dhana-fi. samtaro karyau chai, 'Salibhadra and Dhana accomplish volun-
tary death by starvation/
PLATE XXX.
Folio 38. Two women mourning. Legend, Mata vil& tapa kare chai,
'The mothers lament bitterly/
PLATE XXX.
Folio 39. Obverse: Salibhadra and Dhana in paradise. Legend, Savd-
ratha siddha devata huva, 'They become Sarvarthasiddha gods/ Reverse:
with decorative rosettes.
PLATE XXX.
8
17.2280. Manuscript of the Ratan Sar, 21 leaves, 13 lines to a page,
Prakrt language, Nandinagari characters, with 4 crude miniatures. No
covers. Dated Samvat 1633 = A.D. 1576.
Leaves .265 X .105 m. Ross-Coomaraswamy Collection.
9
17.2281. Manuscript of the Raja Prasniya, 76 leaves. 1 to 16 lines to
a page, Prakft language with Sanskrit ttka, Nandinagari characters, no
miniatures. No covers, but outer leaves decorated in red. Finely written
on thin paper. Dated Samvat 1665 - A.D. 1608.
Leaves .265 X .llm. Ross-Coomaraswamy Collection.
[66]
JAINA PAINTINGS
Colophon: Sarhvat 1665 var$e . . . kkhi: Sri.
Extract from fikS, on last page : hi mala(ya)gin virarita Raja Prasnlyo-
p&ihga vftti. Properly called the Rayapasenaijja, this is the second of
the 12 Upangas of the Jaina canon. It begins with account of the god
Suriyatha's pilgrimage to Mahavlra but consists mainly of dialogue
betwen King Paesi (?Prasenajit) and the monk Kesi, and ends with the
king's conversion. Kesi maintains that there exists a soul independent
of the body. Paesi claims to have proved the contrary by experiment.
The book is parallel to the Payasieuthe of the Buddhist canon; and the
type is found also in the Buddhist Milindaprasna.
The contents have been described by Leumann, E., Oriental Congress,
VI, Leiden 1883, III, 2, 490 if.
PLATE XXXI.
10
17.2282. Manuscript of the Samudnka Lak$ana, a work on physiog-
nomy or rhetoric; in Sanskrit. Six leaves, seventeen lines to a page, no
miniatures, no covers.
Leaves .275 X .22 m; Ross-Coomaraswamy Collection.
The text commences:
Adidevam pranampadau sarwajnarh sarbadar&inarh
Samudrikam pravak^yami subhagam puru$astriyo 1.
Purvam&yuh pankset pa&callak$anamevaca
Ayurhlnd nardnaryyo lak$anaih kimprayojanam 2.
and concludes
Jnatavyam vivudhaih strindm, laksanambapya laksanam
Kulavrddhi yafovrddhih, laksml brddhi bh&vet yatah 49.
followed by the colophon:
Iti Sri Sdmudrike Lak?anadhy&yah: gramthagramtha 277 sampuryam,
followed by fourteen lines of mantras.
11
17.2283. Manuscript of the Bhava-vairdga Sataka. 8 leaves, 6 lines
to a page, Prakpt language, with Sanskrit tlka, Nandinagari characters,
no miniatures. No covers. Finely written on thin paper. Sixteenth
century.
[67]
INDIAN COLLECTIONS
Leaves .254 X .11 m. Ross-Coomaraswamy Collection.
Colophon: I ft Bhava vairaga kaiakam samdpfah b(emi) [Not to be con-
fused with the well-known Vairdgya Sataka of Bhartrhari].
A hundred verses on the nonentity of phenomena, the vanity of all
earthly weal, the sorrow of birth and death, etc., for which the Jaina religion
is the only remedy. The text has been published and translated by
Tessitori, L. P., in Giornale della Societd, Asiatica Italiana, 22, 179-211
and 24, 405 ff .
PLATE XXXII.
12
17.2284. Manuscript of the sixth section of the Nala-Davadantl, con-
sisting of two leaves, the outer side of each with coloured decoration.
Hindi language, Nagarl characters. Dated Samvat solah tihuttaraim (sc.
tihattaraim), i.e. 1673 = A.D. 1616.
Leaves .242 X.104 m. Ross-Coomaraswamy Collection.
The latter part of the Katha Ko6a (trans. Tawney, C. H., London,
1895) contains a lengthy version of the story of Nala and DamayantI:
the present MS. mentions different names and seems to belong to an older
and different recension, if, indeed, it has any connection with the story
apparently indicated by the name the contents appear to be merely
edifying. It consists of 15 caupdls and a lengthy colophon, part of which
is hardly decipherable.
Commencement:
Sakala jaina guru pranamump&y& 9 vagadeva mujha karahu pasdyd
Gdisu Qhu kumara risiraya, jiria muni pdti pravacana may a 1.
Sakala suddvd hoi vadhdvd, dha. kumara munivara guna gava. Amkanl
Magadha desa tribhuvani visy&t&j pura vacsam tajyam racyo'i viyat&
Vasal s&mayaka nama kuvamin (?), savala dtram maya navitamtr
Dharmaghosa guru &ya nanl, vadi suna'i desana jina v&ni.
Extract from the colophon:
Dhala dasaml (fita chandnih, Sudharma Sdmi parampara:
Chandra kula Vayara Sami s&khi, Kotika gay,a Gaccha Kharatardu:
bhattdrakd subhdsi subhdsi, yuga para dhana Jinacamdra prathama
6isya siromanl: jam Gotra Rlhatfa nama pamfota Sakalacamdra
prasidha ghani: tasu slsaya bhanal Samayasumdara
[68]
JAINA PAINTINGS
up&dhySyalm slparaim vdcanac&m.
Reja Harfanandana prathama bisyanalm Sdaralm 1.
Gotra Golocha . . .
Samghamairii dUpata Kharatara Gaccha sinag&ra 9 sinag&ra, dharma tand
dhuramdara deva guru ragi ghanum. R&yamalla-putra-ratna Amipdla
Khettasl Netasl tanum. Raja Slid sabhatl javi hunskina Netasl agraha
kari. Caiipal kftdhl Samayasumdara Nala DavadamtZ caritasa. 2.
Sarhvat solah tihuttaraim masa vasamta Anarhda nagara manohara medatau.
Jimh&va supujya Jinade V&sapujya firthakara prasddal
Gaccha Kharatara . . . yuga para dhdna Jinasimha Suri sadaguru ....
Samayasumdara Jayaii agraha Netasl . . . Caiipal nalada davaken catura
mdnasa citavasvl. 3.
Iti Sri Nala Davadamtl sambamdhe sastd khamdah samapfah. Subham
bhavatu, Lunavasa madhye.
From which it appears that Samayasundara, disciple of Sakalacandra
and guru of Haranandana, wrote this poem in 1673 Sarhvat, at the in-
stigation of Netasl son of Rayamalla, in Lunavasa monastery of the city
of Ananda.
The date solah tihuttaraim must be read as solah tihattaraim, giving
1673 Samvat, equivalent to 1616 A.D. Jinasimha Suri of the Bfhat-
Kharatara Gaccha died in Samvat 1674. Ananda is the modern Anand,
chief town of the Khaira district of the Bombay Presidency.
PLATES XXXIII and XXXIV.
13
21.1664. Stotra in praise of Jinas, in Sanskrit. Single leaf of text written
on one side only in red and white Nagari characters on a black ground.
Dimensions, .264 X .12 m. Marianne Brimmer Fund.
14
21.1665. Stotra in praise of Neminatha, in Sanskrit. Single leaf of
text, written on one side only in white Nagari characters on a red ground.
Dimensions, .263 X .119 m. Marianne Brimmer Fund.
Colophon (not wholly legible) :
Iti Sn Pamdita krtam Soli Neminathastotram sampurruim . . . mulo-
dharmmo jinoktam.
[69]
INDIAN COLLECTIONS
JlNAB
15
17.2295. Painting on cotton, representing the Jina Parsvanatha en-
throned, with deities, saints and symbols in the surrounding compart-
ments. Probably fifteenth century.
Dimensions, .30 X .31 m. Ross-Coomaraswamy Collection.
Described and reproduced in (Coomaraswainy, Notes on Jaina Art,
Journal of Indian Art, Vol. 16, 1914).
The central figure is drawn over a square of gold leaf, in the manner
of MSS. M.F.A. 17.2277 and 2278, the colours used being scarlet (back-
ground), yellow (for flesh, etc.), crimson, pink, blue, green, black, and
white. The cloth has been primed before painting. Spots of sandal paste
on the chief figures show that the picture has been used as a cult object.
Originally folded in nine, with a nandiyavartta diagram at the back.
Iconography:
1. Sri Parsvanatha enthroned in a mandir.
2. Samavasarana of Sri Parsvanatha.
3. 'Pafica-pad': five Omkara ideographs, and five Siddhas, above the
Siddha-Sila. These five persons probably represent the 'Paficapuruga'
(whose significance in Jaina mythology is unknown to me: but see Blum-
hardt, J. F., Catalogue of Hindi, Hindustani, and Panjdbi MSS. in the
British Museum, 1099, p. 4).
4. The god Indra.
5. The Naga Dharanendra.
6. The YakginI Padmavatl.
7. The goddess Padmavatl (or Ambika?).
8. Suddharma Swami (?) (successor of Gautama Swfimi).
9. Not identified.
10. Gautama Swami (Mahavlra's successor as spiritual leader of the
Jaina community).
PLATE XXXV.
[70]
JAINA PAINTINGS
16
17.2296. Drawing representing Sri ParSvanatha enthroned: cobra
(nfiga) cognizance.
Dimensions, .064 X .128m. Ross-Coomaraswamy Collection.
17
17.2297. Painting representing Sri Rgabha enthroned: bull cognizance.
Dimensions, .074 X .090 m. Ross-Coomaraswamy Collection.
18
17.2298. Drawing representing Sri ^abha enthroned in a mandir: bull
cognizance.
Dimensions, .113 X .288m. Ross-Coomaraswamy Collection.
PLATE XXXVI.
19
17.2299. Painting representing Sri Kunthanatha enthroned: goat
(chagd) cognizance.
Inscribed: Kunthanatha-jl 17.
Dimensions, .128 X .197 m. Ross-Coomaraswamy Collection.
20
17.2300. Painting representing Sri Arahanatha enthroned: nandiya-
vartta cognizance.
Inscribed: Arahan&tha-ji 18.
Dimensions, .127 X .193m. Ross-Coomaraswamy Collection.
21
17.2311. Painting representing Abhinandana-Natha, with monkey
(kapi) cognizance. Inscribed Sri Abhinandana-jl 4*
Dimensions, .115 X .153m. Ross-Coomaraswamy Collection.
PLATE XXXVI.
INDIAN COLLECTIONS
MISCELLANEOUS DRAWINGS
22
17.2285. The Fourteen Dreams of the Ram Trisala. Coloured drawing.
Dated equivalent to A.D. 1627.
Dimensions, .252 X .105m. Ross-Coomaraswamy Collection.
Iconography: upper row, from left to right,
(1) Elephant (hastl), (2) Bull (r?abha), (3) Lion (atta), (4) Lakhml, (5)
Garlands (phitinl-mdl&), (6) moon (candam&) 9 (7) Sun (Surya):
Lower row, from left to right . . .
(8) Banner (dhvaja), (9) Golden vase (purria-kalasd), (10) Lotus lake
(Manasarovara), (11) Sea of Milk (samudra), (12) Heavenly mansion
(vim&na), (13) Jewel-heap (raton), (14) Smokeless fire (niradhuma-agni).
Each of the items labelled in Nagari characters: there is also one line
of inscription giving the date Samvat 1684 ( = A.D. 1627) and place Cam-
pavatl (probably near Jodhpur).
PLATE XXXVII.
23
17.2286. The Fourteen Dreams of the Ram Trisala. Coloured draw-
ing. Seventeenth century.
Dimensions, .24 X .107 m. Ross-Coomaraswamy Collection.
Iconography; upper row, from left to right:
(1) Elephant, (2) Bull, (3) Sun, (4) Moon, (5) Golden vase, (6) Lotus
lake, (7) Heap of gems;
Lower row, from left to right:
(8) Lion, (9) Garland, (10) Banner, (11, centre panel) Lakml, (12)
River or sea, (13) Mansion, (14) Fire.
PLATE XXXVII.
24
17.2287. The Eight auspicious objects (astamangald) and the Fourteen
Dreams of the Ran! Trisala: reverse with miscellaneous sketches. Un-
coloured drawing.
Dimensions, .315 X .195m. Ross-Coomaraswamy Collection.
JAINA PAINTINGS
25
17.2288. Four leaves of crude sketches. Nineteenth century.
Ross-Coomaraswamy Collection.
26
17.2289. Illustration to the Salibhadra caritra:
Painting; three architectural compartments. In the centre Salibhadra
and Dhana seated on a throne, conversing with Bhadramata who stands
before them; to right and left, the thirty-two wives of Salibhadra, Cf.
17.1673, f. 8 with a group of 27 women. With labels in Nandinagari char-
acters. At the back is written a list of the Fourteen Dreams of the Ran!
Trisala. Eighteenth century.
Dimensions, .274 X .120m. Ross-Coomaraswamy Collection.
The legends above the three central figures read: Bhadramatft chai,
ScUabhadra Sefh chai, Dhano namai bahanefi.
PLATE XXXII.
27
17.2290. Fragment of painting representing a man applying sectarian
marks to his forehead. Perhaps Rajput. Early seventeenth century.
Dimensions, .08 X .05 m. Ross-Coomaraswamy Collection.
PLATE XXXVI.
28
17.2291. Outer leaf of a MS. with decoration: reverse with painting
of a Jain priest worshipping the vision of Sarasvati, who is four-armed and
carries book and vina, and rides on hamsa. The priest waves a caun and
carries a bowl: behind him a flowering tree. Seventeenth to eighteenth
century.
Dimensions, .215 X .107m. Ross-Coomaraswamy Collection.
PLATE XXXII.
29
17.2292. Painting, representing Sri Kr?na on lotus seat: four-armed,
with lotus, chank, and mace. Perhaps Rajput. Seventeenth to eighteenth
century.
[73]
INDIAN COLLECTIONS
Dimensions, .056 X .044m. Ross-Coomaraswamy Collection,
Items 17.2293 and 17.2294 are by the same hand.
30
17.2293. Painting, representing Rama and Slta enthroned, attended
by LaJtgmana and Hanuman. Perhaps Rajput. Seventeenth to eighteenth
century.
Dimensions, .067 X .046 m. Ross-Coomaraswamy Collection.
31
17.2294. Painting, representing two men seated, one with a sitdr, the
other reading or singing from a book.
Perhaps Rajput. Seventeenth to eighteenth century.
Dimensions, .569 X .046 m. Ross-Coomaraswamy Collection.
32
22.706. Hrimkara yantra. A diagram of a squatting human figure
within the monogram Hrim: dated equivalent to A.D. 1705.
Dimensions, .403 X .578 m. Gift of Ananda E. Coomaraswamy.
The uppermost enclosed area reads:
Mesvaha. Om Hrim Sri R?abha ajita Sarhva Abhinandana sumati . . .
bhamvamtu
The main text commences:
Om Hrim Srim KKm namo arihamtaiwm namo siddhanam name &pa
asya yantra prabhava. sarva manu^yasam striya sarva raja navdyaha:
Text six lines from the bottom begins:
Vi(krama) samvat 1762 and concluded sarva siddhi guru Id ajna kura.
Various feminine deities (CancJikS, Sarada, PadmavatI, Gomukha, etc.)
are represented as having their seat in the parts of the body.
The Hrimkara is a monogram symbol associated with Parsvanatha and
according to Jaina interpretation is composed of the letters ha (meaning
Par&vanatha), ra (meaning Dharanendra), and I (meaning PadmavatI).
(Burgess, J., Papers on Satrunjaya and the Jains, Indian Antiquary, XIII,
1884, p. 279.)
PLATE XXXIX.
[74]
LIST OF DONORS
MARIANNE BRIMMER FUND. 21.1673, 64, 65.
ANANDA K. COOMAHASWAMY. 22.706.
DENMAN W. Ross. 17.2276-2300, 2311; 19.142; 22.364.
INDEX OF REGISTRY NUMBERS
Registry
Number
Catalogue
Number
Plate
Number
Page
Registry
Numlier
Catalogue
Number
Plate
NumU-r
Page
17.2276
1
40
1 7 2290
27
XXXVI
7*1
I
II
41
42
17.2291
17.2292
28
29
XXXII
73
73
III
43
I 17.2293
30
74
17.2277
2
43
17.2294
31
74
IV
V
45
40
17.2295
17.2290
15
10
XXXV
70
71
VI
40
17.2297
17
71
VII
VIII
47
48
17.2298
17.2299
18
19
XXXVI
71
71
IX
49
17.2300
20
71
17.2278
3
X
49
49
17.2311
19 142
21
5
XXXVI
XXXVI
71
58
XI
50
21.1004
13
09
XII
50
21.1005
14
09
XIII
51
21.1073
7
00
17.2279
G
XIV
XV
52
53
58
XX II I
XXIV
XXV
02
02
03
17.2280
8
XXII
59
00
XXVI
XXVII
04
04
17.2281
9
00
YV V1TT
ft 5
17.2282
10
XXXI
07
07
XXIX
XXX
05
00
17.2283
11
07
22.304
4
53
17.2284
12
XXXII
08
08
XV
VVT
54
"id
17.2285
17.2280
17.2287
22
23
24
XXXIII
XXXIV
XXXVII
XXX VJ1
09
09
72
72
72
XVII
XVIII
XIX
XX
XXI
54
55
50
50
57
17.2288
25
73
22 700
32
XXXIX
74
17.2289
20
XXXII
73
I
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Cl
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Cl
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CO
TJ
q
CJ
ti
K
H
- 3
** ro
a
CO
f>\
<H
i~
"A
CO
N
CO
CC
1-
CO
u
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I
A
PLATE XXXIX
32. (22.706)